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UMS Concert Program, Sunday Mar. 19 To 24: University Musical Society: 1999-2000 Winter - Sunday Mar. 19 To 24 --

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

University Musical Society
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
I.S. Bach
Vladimir Ashkenazy
Oscar Peterson
Take 6
CX A Vl?tteiudotnUik President
4 Letter from the Chair
5 Corporate LeadersFoundations 13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 UMS Card
25 UMS Choral Union
26 , Auditoria & Burton Memorial Tower
29l 1 EMI WikiefeoOO Season
35 Education & Audience Development
37 Dining Experiences
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
45 Advisory
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
IS Preferred Restaurant Program ,soryCommittSUPPO
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. Charia Founder CEO, Charia Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charia Breton Associates is pleased and honored to support the University Musical Society and its great offering of gifts to the community."
Howdy S. Holmes
President and CEO, Chelsea Milling Company '"Jiffy" Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Towie"Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be partners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
William S. Harm
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. Serr Principal, Miller, Canfield, Paddock and Stone, P.LC. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
Charies 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.
continued on page 11
David. E. Engelbert Hiram A. Dorfman
Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February 4, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
Community Foundation for
Southeastern Michigan DaimlerChrysler
Corporation Fund The Ford Foundation The Heartland Arts Fund TheJ.F. Ervin Foundation KMD Foundation Knight Foundation 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
Education Audience 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 IIjiii Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook Juanita Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endres
Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen Jadon HartsufT Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti leanne Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Elly Rose Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman Louise Townley Bryan Ungard Suzettc Ungard Wendy Woods
Fran Ampey Gail Davis Barnes M.iin Barter Elaine Bennett Lynda Berg Yvetle Blackburn Barbara Boycc Letitia J. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig
David A. Leach
Rebecca Logie
Dan Long
Laura Machida
Ed Manning
Glen Matis
Kim Mobley
Eunice Moore
Rossi Ray-Taylor
Gayle Richardson
Karen Schulte
Helen Siedel
Joan Singer
Sue Sinta
Sandy Trosien
Sally Vandeven
Barbara Hertz Wallgren
Jeanne Weinch
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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop &. Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
UMS enters a new interactive com?munication era with the launch of the new and improved!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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 Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union again appears in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include perfor?mances of Shostakovich's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers joined the Gabrieli Consort & Players for an Advent program based on the music of Praetorius in December. A highlight of the season will be a performance on Palm Sunday afternoon, April 16,2000, of J. S. Bach's
monumental St. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, call 734.763.8997 or e-mail
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the 1,390-seat Power Center is more than seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost approxi?mately $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade will be completed by 2003.
In the fall of 1999, the Michigan Theater opened the doors of a new 200-seat screening room addition, as well as additional restroom facilities, which have been built onto the existing 1928 structure.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later, ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through ded?ication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment
and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat the?atre for the 100th May Festival's Cabaret Ball. Now, with a pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the
world's great opera houses, the 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only three seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
A Full Ho
Auditorium 4,163
Power Center 1,390

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 Sunday, March 19, 2000 through Friday, March 24, 2000
General Information
Children of all ages are welcome to UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regu?lar, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this editon. Thank you for your help.
American String Quartet 3
Beethoven the Contemporary Sunday, March 19, 4:00pm Rackham Auditorium
Thomas Quasthoff 11
Monday, March 20, 8:00pm Lydia Mendelssohn Theatre
Michigan Chamber Players 19
Wednesday, March 22, 8:00pm Rackham Auditorium
Forgiveness 29
Friday, March 24, 8:00pm Michigan Theater
Beethoven the Contemporary
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Ludwig van Beethoven
Irving Fine
Sunday Afternoon, March 19, 2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet in D Major, Op. 18, No. 3
Andante con moto
String Quartet (1952) Allegro risoluto Lento
String Quartet in c-sharp minor, Op. 131
Adagio, ma non troppo e molto espressivo
Allegro molto vivace
Allegro moderato
Andante, ma non troppo e molto cantabile
Adagio quasi un poco andante
Sixty-seventh Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, Michigan Radio.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Margaret Guire, Pioneer High School, and Andrew Jennings and Paul Kantor, U-M School of Music, for their involvement in this residency.
Special thanks to the American String Quartet for three years of music, education, and community outreach through the University Musical Society's Beethoven the Contemporary series.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Large print programs are available upon request.
String Quartet in D Major, Op. 18, No. 3
Ludwig van Beethoven
Born December 16, 1770 in Bonn
Died March 26,1827 in Vienna
Beethoven described his early time in Vienna as "long years of drudgery," during which he worked hard to establish and pro?mote his reputation not just as a piano vir?tuoso, but as a serious composer in all the major genres. His sketchbooks from this period testify of the effort and energy he invested during these years of apprentice?ship, but he later expressed gratitude for the discipline he developed during this time, a discipline derived from efforts to master the entire field of composition.
The six string quartets published in 1801 as Beethoven's Opus 18 represent the composer's first attempts at the principal chamber music genre of his age. Understandably, they are closely modeled on the quartets of Haydn and Mozart for Beethoven the apprentice there could hardly have been better masters to learn from. But the String Quartets, Op. 18 also demonstrate how rapidly Beethoven assimilated, mas?tered, and expanded upon that essentially Classical tradition.
The String Quartet in D Major, though published as the third in the set, was almost certainly the first of the six to be completed. Beethoven scholar Joseph de Marliave claims there is more of Haydn and Mozart in this quartet than in any of the others: it was Beethoven's best attempt at composing "in the old quartet style." For the most part he follows the Classical traditions, giving prominence to the first violin and assigning the cello a mainly harmonic role. But it wasn't until after he completed this homage to the past that Beethoven exclaimed to his friend Karl Amenda, "I have just learned how to write quartets properly." Already he was envisioning the future of the string
quartet genre, a future that he would, in large part, shape single-handedly.
The fluent and poetic melody that opens the "Allegro" shows that while this may be a relatively youthful work, it is not immature. Beethoven immediately puts his own thumbprint on it, audaciously begin?ning with a dominant harmony instead of the tonic triad (the traditional opening chord of the sonata-allegro form). After the transition, the second key area curiously detours through C Major before settling on the dominant, A Major. The recapitulation begins almost imperceptibly rather than preparing it with dominant harmony, Beethoven writes a measure of insistently repeated C-sharp Major triads. The chord vanishes, leaving just the 'c-sharp,' which is then reinterpreted as the leading tone in D Major. The recapitulation is well under way before the audience recognizes the harmon?ic sleight-of-hand. With brief feints to g minor and E-flat Major in the coda, Beethoven indicates his willingness to explore more distant harmonic relation?ships.
The harmonic games continue into the second movement, a broad rondo with a solemn yet gracious main theme in the dis?tant key of B-flat Major. While the flat sub-mediant relationship would in later years become a favorite key area for early Romantic composers, its use here is relative?ly unusual. Still, Beethoven had given a hint of his intentions by emphasizing B-flat Major in the development section of the first movement.
The brief third movement is not labeled scherzo, though it is decidedly faster than a minuet. Lacking the scherzo's sense of play, it whispers eerily. Basil Lam writes that it "could almost belong to one of the last quartets, with its undertone of pathos and its elusive rhythms." Keeping up the har?monic third relations, Beethoven doesn't end the first section on dominant, but
cadences on the mediant (f-sharp minor). The minore trio is based on the familiar descending four-note bass pattern used in many baroque ground-bass compositions. Beethoven then writes out the repeat of the opening in full, adding octaves to emphasize the ghostly impression.
The sprightly "Presto" finale is a concise sonata form. Some writers have suggested that the high-spirited theme contains in its rhythms the germ of the famous "short-short-short-long" motif that would later appear most famously in the composer's Symphony No. 5. But at this tempo, the motif takes on a much livelier and less por?tentous character. The polyphonic develop?ment section allows the cello a degree of independence rarely found in earlier quar?tets. After a traditionally-conceived recapit?ulation, a final diminuendo ends the work with a touch of unaffected comedy.
String Quartet (1952)
Irving Fine
Born December 3, 1914 in Boston
Died August 23, 1962 in Boston
Though neither prolific, influential, nor especially innovative in his musical style, Irving Fine is still regarded as one of the most accessible American composers of his generation. A native of Boston, he studied at Harvard University under Edward Burlingame Hill and Walter Piston, later moving to Paris to work with the famed neo-classicist Nadia Boulanger. Fine embraced neoclassicism wholeheartedly, and became one of its strongest advocates in America during the post-war period. Upon his return to the US, he taught at Harvard, and later at Brandeis, where he worked alongside another staunch neoclassicist, Harold Shapero. While serving as chair of the music division at Brandeis, Fine died of a heart attack at the age of forty-seven, only
eleven days after conducting his most ambi?tious work, Symphony (1962), at Tanglewood.
Fine's music leans toward the romantic end of neoclassicism: lyrical, richly-scored, and with a spontaneity that is sometimes lacking in the dry and calculated objectivity of Stravinskian neoclassicism. But like Stravinksy, Fine experimented with serial procedures after Schoenberg's death in 1951. His String Quartet (1952), composed on a commission from the Koussevitsky Foundation, is the first work in which he employed the twelve-tone technique with any consistency. He wrote, "While all the melodic material, the harmonies and the figuration have been generated by the 'row,' the use of the 'row' technique is fairly free; and the work as a whole is frankly tonal, 'c' being the prevailing tonality." This combina?tion of serial procedure with a proclivity for quasi-tonal rows suggests an affinity with Berg, prompting British music historian Wilfred Mellers to characterize Fine's music as if it were "Berg reborn" in the freshness of the New England countryside.
The String Quartet is in two move?ments, though the composer noted that each movement is "essentially tripartite" in form. The first, marked "Allegro risoluto," alternates unison passages with heteroge?neous polyphony, a generous use of pizzica?to, and driving rhythms that perhaps owe more to Bartok than Berg. A slower, recita?tive-like middle section provides some con?trast, but the mood gradually reverts as the opening material returns, ending with a series of gently dissonant cluster chords.
The "Lento" opens with lush harmonies sustained in long held chords, as echoes of birdcalls quietly chirp in the background. Brisk arpeggio runs interrupt the calm, introducing a contrasting middle section, which is itself tripartite in form. It is as if Fine inserted an abbreviated reprise of the first movement in the middle of the second.
After the return ot the lush lento chords, a reiterated tritone brings the work to a subdued but unresolved conclusion.
String Quartet in c-sharp minor, Op. 131
Mahler believed that the symphony should "embrace everything," but Beethoven proved with his String Quartet in c-sharp minor, Op. 131, that this intimate chamber genre could also encompass a world of expressive possibilities. Written between November 1825 and July 1826, the String Quartet in c-sharp minor is surely one of the most het?erogeneous collections of movements to be gathered under a single title. Beethoven joked to his publisher that it was nothing more than a series of odds and ends left over from other works (later assuring him that it was indeed "all new"). The work has seven movements including a fugue, theme and variations, and a sonata-allegro -and no less than twenty tempo changes (not including ritardandos and a tempi). But Op. 131 is also perhaps the most deeply integrated quartet Beethoven ever composed.
Beethoven entirely abandons the tradi?tional movement structure in this quartet. The format more closely resembles an eigh?teenth-century divertimento in its succession of disparate movements. But while the first and last movements are the only ones in the tonic key, the harmonic scheme for the quartet is derived from an over-arching cadential progression that leads inexorably to the finale. The succession of movement types, linked without a break, also throws the work's formal weight onto the final sonata-allegro. Like Symphony No. 9, it is a finale-based composition.
The "Adagio" fugue that opens Op. 131 is the first opening slow movement
Beethoven composed since the "Moonlight" piano sonata some twenty-five years earlier. As the "Moonlight" sonata is also the only other work he wrote in c-sharp minor, it seems Beethoven associated this key with a certain brooding, mysterious quality. But the home key is barely established before wide-ranging modulations move through four changes of key signature in the move?ment. Wagner may have been overstating the case somewhat when he called this fugue "the saddest thing ever said in notes." Daniel Gregory Mason's description of it as a "peculiar blend of passion with patience" is perhaps closer to the mark.
The fugue ends on octave 'c-sharps,' which then shift up a half-step to 'd' for the second movement, a gentle scherzo in a highly compressed sonata form that is as cheerful as the fugue was grave. The main theme is unselfconsciously naive, and there is hardly any second theme to speak of. Just as the new key area is established, the reca?pitulation makes its surprisingly eager entry, with a slightly extended coda compensating for the intrusion.
Though numbered separately in Beethoven's manuscript, the third move?ment is little more than a brief, declamatory interlude in recitative style. The set of varia?tions that follow manifests yet again the composer's late-style fascination with varia?tion forms. This central movement is a moment of repose in which both form and harmony are stable; there are no surprises here. The A-Major theme, with pizzicato cello and sustained viola, exudes warmth and depth, while a rest on the first beat cre?ates a mild ambiguity of meter. The remain?der of the movement consists of six double variations (with the repeats written out in full and slightly varied). The first four are decorative. Variation five, however, reduces the theme to its essence; Vincent dTndy described it as "almost silence." The sixth and final variation is halting and anxious.
What begins as a seventh devolves into a series of trills that then develops into a lengthy coda. The last measures were partic?ularly troublesome for Beethoven; in his notebooks he modified the final four mea?sures fifteen times, and the final published version was different again.
The "Presto" in E Major is decidedly more high-spirited than the second move?ment, with a madcap humor that is perhaps even a little vulgar (at least in the original sense). It goes to the trio section twice, but on the third attempt, the scherzo and trio collide head on, and both are momentarily disoriented. The strings play the main theme sul ponticello (the only time Beethoven used this technique), producing a thin, high-pitched effect that is outrageously comic.
The brief "Adagio" in G-sharp Major, possibly based on an old French song, func?tions as an extended dominant preparation for the final sonata-allegro movement, the end-goal of the entire work. Joseph Kerman writes of the finale, "It crowns the composi?tion in practically every way: in force of expression, intellectual intensity, breadth of action, and integrative power over the com?position as a whole." It begins with a theme whose notes are almost identical to the main theme from Bach's Musical Offering (also in c-sharp minor), while the contrasting theme alludes explicitly to the first movement. The development and recapitulation are both rather terse, emphasizing the laconic nature of the themes themselves. Though the quar?tet ends on a tonic major chord, Donald Tovey describes the coda as "unsurpassed anywhere in Beethoven for tragic power."
An often-repeated anecdote claims that Beethoven was once asked which of his compositions he liked the best. Though reluctant to single one out above the rest, he reportedly replied that of all his works, this quartet was his favorite.
Program notes by Luke Howard.
The American String Quartet celebrated its twenty-fifth anniversary in the 19981999 season with a tour that includ?ed concerts in all fifty states, a performance at the Kennedy Center in Washington, and two European tours. In the years since its inception, the Quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included virtually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists.
Resident Quartet at the Aspen Music Festival since 1974 and at the Taos School of Music since 1979, the American also has ongoing series under the auspices of University Musical Society of the University of Michigan and the Orange County Performing Arts Center in California. The Quartet is credited with broadening public awareness and enjoyment of chamber music across North America through educational programs, seminars, broadcast perfor?mances, and published articles. It was one of the first ensembles to receive a National Arts Endowment grant for its activities on col?lege campuses. Its commitment to contem?porary music has resulted in numerous commissions and awards, among them three prize-winners at the Kennedy Center's Friedheim Awards.
Quartet-in-Residence at the Manhattan School of Music in New York since 1984, the members of the Quartet were previously on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies) and in 1992 they served as resident ensemble for the Van Cliburn International Piano Competition.
The American String Quartet continues to reach a widening audience through its recordings, most recently the complete Mozart string quartets for MusicMasters Musical Heritage on a set of matched Stradivarius instruments, released during the 19971998 season. The Quartet's diverse activities have also included numerous radio and television broadcasts in fifteen coun?tries, tours to Japan and the Far East, and performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances and recitals.
This performance marks the American String Quartet's tenth appearance under UMS auspices.
UMS and
McKinley Associates
Thomas Quasthoff
Justus Zeyen Piano
Johannes Brahms
Franz Liszt
Claude Debussy
Monday Evening, March 20, 2000 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Lieder, Op. 32
Wie rafft' ich mich auf in der Nacht
Nicht mehr zu dir zu gehen
Ich schleich' umher
Der Strom, der neben mir verrauschte
Wehe, so willst du mich wieder
Du sprichst, dass ich mich tauschte
Bitteres zu sagen denkst du
So stehn wir, ich und meine Weide
Wie bist du, meine Konigin
Tre Sonetti di Petrarca
Pace non trovo (Sonnet 47)
Benedetto sia '1 giorno (Sonnet 104)
I' vidi in terra angelici costumi (Sonnet 123)
Ballades de Francois Villon
Ballade de Villon a s'Amye
Ballade que Villon feit a la requeste de sa mere pour
prier Nostre-Dame Ballade des femmes de Paris
Maurice Ravel
Sixty-eighth Performance of the 121st Season
Fifth Annual Song Recital Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Don Quichotte a Dulcinee Trois Chansons
Chanson romanesque Chanson epique Chanson a boire
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
This performance is sponsored by McKinley Associates.
Special thanks to Ron and Eileen Weiser for their generous and continued support through McKinley Associates.
Additional support provided by media sponsor, WGTE.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Richard LeSueur for presenting this evening's Pre-Performance Educational Presentation (PREP).
The piano used in this evening's performance is provided by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf arid John Ozga of Fine Flowers, Ann Arbor.
Recordings are available on the BMG Classics, Deutshe Gramophon, and Hanssler labels.
Thomas Quasthoff appears by arrangement with CramerMarder Artists.
Large print programs are available upon request.
Program Notes
As with the other concerts in this season's UMS Song Series, tonight's recital offers lovers of the art-song an array of treasures, many of which are seldom heard with any regularity. Interesting too is the fact that tonight's repertoire by Liszt, Debussy and Ravel was written specifically with the bari?tone voice in mind. In these groups of songs we are treated to the composer's initial con?cept of color, rather than, say, a transposed performance of Schumann's Dichterliebe or Schubert's Die schbne Miillerin. Finally, as one scans the program, one cannot help but notice too that with that same trio of com?posers (Liszt, Debussy, and Ravel), the repertoire is evoking centuries and cultures far from home.
Some composers are songwriters, whether or not they are writing songs. This seeming?ly paradoxical statement becomes
clearer when one listens to the Impromptus or chamber music of Schubert or the piano music or instrumental sonatas of Poulenc. With or without text, music for these gentlemen was always the song, and the key for any interpreter of their non-vocal works is surely inves?tigation of their output for voice
and piano. With Brahms one needs to turn this thesis upside-down. If an instrumentalist were to appropriate a Brahms song and offer it in a textless per?formance, the overall effect on the audience would remain fairly unchanged. Brahms obscures the boundary between abstract, absolute music and programmatic settings of texts. Thus his two-hundred songs, while indispensable to the recital repertoire, are
specific to no performer; they create beauti?ful generalized envelopes for a poem, but cannot afford to paint individual details and remain true to Brahms' credo.
For all these reasons, Brahms tended to select poetry first for its inherent musical value (first-rate poetry from a literary view?point was never required), and secondly for its ability to mirror the composer's own life and feelings. Tonight's opus definitely underscores the latter. In 1858, Brahms met the charming Agathe von Siebold at the house of some friends in Gottingen, and thus began a five-year romantic idyll for the two, made even more passionate by Brahms' continual comings and goings as he endeav?ored to launch his career in Vienna. More than a dozen songs depict the composer's blissful mood during this time, and natural?ly Brahms chose poems of a charming and light-hearted nature. But in 1862, with his parents' separation and his failure to achieve true success with the Viennese public, Brahms put work ahead of all things, and abruptly broke off his engagement to
Agathe. Her lite was never to be happy again, and to express his own guilt and despair, Brahms selected nine poems from three different poets to create opus 32. The last song adores the beloved ("How wonderful you are!") but resonates as ironic, given Brahms' break with Agathe. Number four asks: "Where is the rose, where is the
kiss Where is the man I used to be" And most telling of all, the group's second song, clearly and painfully autobio?graphical: "I decided not to see you any more...I want to stop living." For this song, Brahms chose d minor, always his most dra?matic key, and commented on the tortured text with a searing postlude for the piano, the only extended event for the keyboard in this opus.
Beyond the autobiographical, opus 32 is interesting too from a purely musical stand?point. Throughout his life, Brahms consid?ered the German folksong the purest form of expression. It was his model, his arche?type, and he endeavored to honor its sim?plicity, its directness, its lack of sophistica?tion in his art-song writing. With opus 32, however perhaps due to his inner turmoil, one can only speculate he broke not only with Agathe, but with his own traditional methods. In these nine songs, we encounter through-composed songs for the first time from Brahms' pen. These are rhapsodies, with echoes of traditional forms, but with startling departures too. The composer's next opus was to be his majestic song-cycle, Die Schone Magelone, fifteen songs which fill an entire evening, many resembling no less than a symphonic movement in scope. Clearly, Brahms needed new harmonies and
forms in this period of his life, and tonight's nine songs are his initial experiments.
If we limit the candidates to musicians, Franz Liszt claims the award of the ultimate "renaissance man." No musical activity or style eluded him. As a pianist his name is synonymous with virtuoso, and only violin?ist Nicolo Paganini comes close in terms of fame and acclaim throughout Europe and the Americas. As a composer, Liszt is not only significantly more prolific than all his peers, he is startlingly contemporary for his era. His musical imagination knows no boundaries, and his liberal ideas closely resemble those of our own century. The orchestral tone-poems of Strauss and Debussy owe their very existence to Liszt who invented the genre. His harmonic experiments were radical for the middle of the nineteenth century, and they remain fas?cinating even today. We probably think of Liszt primarily in terms of the piano, but actually he composed in every facet of the repertoire, including more than a hundred songs in French, Hungarian, German, English, and the Italian which he hear this evening.
Liszt went far outside his own era in creating these Petrarch sonnets. This is true only for these three songs, for in the remainder of his vocal output, he used poet?ry of his European contemporaries. Francesco Petrarca was a highly celebrated fourteenth-century scholar and writer, and, interestingly enough, shared the title "abbot" with Liszt, as both men had taken religious orders. On an extended visit to Avignon in 1327, Petrarch first beheld the now-immortalized Laura. From that day forward, he was to write of her and to her for the rest of his life. Her death in 1348 did nothing to stem the tide of romantic out?pouring. Most of this poetry is in sonnet
form, with strict adherence to its rules regarding meter, poetic feet, and inflection, yet giving the reader the impression of spontaneous and free-form rhapsodizing. This homage to the divine Laura became known and admired throughout Italy and France to the extent that "Petrarchian verse" became a literary term representative of a whole genre. What perfect fodder for the unfettered imagination of Franz Liszt!
Created first in 1846 for piano
solo, the composer selected three sonnets and added the text
for the first vocal version which appeared ten years later. This is the version of these
songs best known today: in a totally
Italian style for high lyric tenor, offering both
singer and pianist consum?mate expressive opportunities, and making heroic demands upon them in terms of range, dynamic extremes and stamina. Liszt rarely left his compositions alone, always editing and revising; one must always inquire which version one is to prepare when receiving a repertoire assignment. Such is the case tonight, for five years after the tenor version in 1861, Liszt rearranged and transposed the sonnets for the baritone voice. One must admit that this later version is more subdued, more thoughtful, less exaggerated than its cousin for tenor. Nonetheless, more romantic songs do not exist in any repertoire or any language. Pay particular attention to the couplet with which each sonnet concludes; Petrarch and Liszt have together captured the poem's larger message in these few words so elo?quently one wonders how the beloved could survive ardor on such a scale.
Debussy is the second composer tonight to reach backward five-hundred years for his texts. These three ballades for baritone and piano of 1910 take their inspiration from the words of Francois Villon, the finest French poet of the Middle Ages. Throughout the 2000 lines of Villon's life-work, The Great Testament, a mournful and self-critical philosophical epic poem, we find scattered and interspersed myriad bal?lades, couplets and rounds on more person?al subjects, be they biting or comical. Debussy has created a wonderful tryptich by selecting one lyric each in a romantic, sacred and bawdy vein. This is Debussy in the full flower of his craft: Pelleas was fifteen years behind him; he had perfected musical inflections to create idiomatic prosody of the French language; his mastery of color and sonority for its own sake and for its emotional implications was complete. Unlike Brahms' method of dealing with texts, Debussy captures every single event, but not at the expense of the larger picture. By combining passion and precision in equal amounts, he has made these antique texts come alive for us.
The first of the ballades carries the unique instructions: "with a mixture of anguish and regret." In a free recitative style, Debussy captures the irony, the sarcasm as well as the underlying sadness in Villon's unrequited love. By means of plainsong melodies for the piano, modal harmonies, and gothic cathedral-like fifths, the second song immediately establishes its credentials. Villon's illiterate mother requested this prayer of him, and it is touching to see how this sophisticated writer simplifies his lan?guage to portray her way of expressing her?self. Villon led a criminal's existence, always in prison or running from it, and yet his faith and abject respect for the Church is completely believable in these words. Both composer and poet were very experienced in
matters of the opposite sex throughout their lives, and the two clearly delight in the long international list that serves to praise Parisian women in the final song of
this set. This third song is a bawdy rollicking,
even shocking finale for this opus. It is further interest?ing that with
Petrarch's son?nets, Liszt had to contend with the couplet; here Debussy, because of
Villon's use of ballade form, must deal with the
envoi, the concluding refrain of each stanza. The composer finds the perfect melodic motive, which serves to not only sum up each strophe, but to unify each song's overall attitude.
Throughout his life, Maurice Ravel was fascinated by cultures other than his own, and half of his output for voice deals with the foreign and exotic. These three songs of Don Quixote are the composer's last work, and although in French and penned in 1932, clearly establish both the nationali?ty and time period of Cervantes' great knight. Thus they are the third time in this evening's concert where a composer has been required to evoke other than the familiar. We are in sixteenth-century Spain, and Ravel has employed traditional Spanish dance-forms to guarantee the required nationalism. The guajiras ("Chanson romanesque") most distinctive characteris?tic is its change from duple to triple meter every other measure. A zorzka ("Chanson epique") has five beats in a bar; this name is the ancestor for our word, "sorcery," perhaps because five is so unusual. Finally, that most
joyous of Spanish dances, the jota is used for Don Quixote's sojourn in a tavern ("Chanson a boire"), lambasting weaker men and toasting only joy.
The score for this brief cycle, be it the original version for piano or the orchestrat?ed version of a year later, looks nothing like what we are accustomed to seeing from this composer. Not only does he accomplish his task with a bare minimum of notes rather than a cascade of watercolor effects, but his directions to the performers, usually copi?ous and highly detailed, are here virtually nonexistent. Thus the bare simplicity of Middle Ages Spain is captured, the sounds of sixteenth-century instruments are clever?ly suggested, and the performers have an inherent freedom in their performances usually not permitted by the precise impres?sionists.
These last utterances of Ravel have a curious history. The great Russian basso,
Feodor Chaliapin, was con?tracted to portray Don
Quixote in a film, and several com?posers were invit?ed to submit inci?dental music in the form of songs. Despite his prestige and inter?national reputa-
tion, Ravel lost this contest to his colleague Jacques Ibert, whose cycle of four songs is another staple of the baritone repertoire today. Ravel's disappointment could not have been long lived, however, for the film was never made, and this trio of songs has become one of his most popular pieces for voice.
Program notes by Martin Katz.
German bass-baritone Thomas Quasthoff is recognized as one of the most remarkable singers of his generation. He has been engaged by many of the world's leading orchestras and collabo?rated with such renowned conductors as Claudio Abbado, Sir Colin Davis, Seiji Ozawa, Sir Simon Rattle, Mstislav Rostropovich and Helmuth Rilling.
During the 1998-99 season, Mr. Quasthoff's US engagements included Mahler's Des Knaben Wunderhorn with the New York Philharmonic and Sir Colin Davis, Mahler's Das Lied von der Erde with the Boston Symphony Orchestra and Seiji Ozawa and Brahms' Ein deutsches Requiem with the Chicago Symphony Orchestra and Daniel Barenboim with performances in Chicago and Berlin. In Europe, he appeared with the Berlin Philharmonic and Sir Simon Rattle (Mozart arias), the Concertgebouw Orchestra and Bernard Haitink (Berlioz' Damnation of Faust), the Deutsche Symphonie-Orchester Berlin with Michael Gielen (Bach's St. Matthew Passion) and the London Symphony Orchestra and Mstislav Rostropovich (Britten's War Requiem) at the Evian Festival.
In recital, Thomas Quasthoff sang Schubert's Winterreise with overwhelming success in Paris, Vienna, Salzburg, Munich, on tour in Japan and in New York in January, 1999 when he made his New York recital debut on the Great Performers at Lincoln Center series.
During the summer of 1999, Mr. Quasthoff made his debuts at the Ravinia, Tanglewood and Mostly Mozart festivals singing Mozart arias with the Freiburg Baroque Orchestra. Highlights of his 19992000 season include his Carnegie Hall debut with the Boston Symphony Orchestra and Seiji Ozawa singing Britten's War Requiem and a US recital tour including this concert as well as concerts in Atlanta,
Berkeley, Los Angeles and at the Kennedy Center. European engagements include per?formances of Beethoven's Symphony No. 9 with Sir Simon Rattle with both the Vienna Philharmonic and the City of Birmingham Symphony Orchestra, the Brahms Requiem with Kurt Masur and the London Philharmonic as well as recitals in the cities of Vienna, London, Berlin, Amsterdam and St. Petersburg. Mr. Quasthoff returns to the Tanglewood, Mostly Mozart and Oregon Bach festivals during summer 2000. Additional upcoming appearances include debuts with the Cleveland Orchestra and the Pittsburgh Symphony and re-engage?ments with the New York Philharmonic, the Boston Symphony and the Chicago Symphony.
Thomas Quasthoff has already amassed an impressive discography which includes recordings for BMG, Haenssler, EMI-Electrola, Philips, and the Bayer labels. In June 1999 he signed an exclusive recording contract with Deutsche Grammophon. In addition to several recital discs, Deutsche Grammophon will record Mr. Quasthoff
singing works by Brahms, Mahler, Berio, Mussorgsky, Shostakovich and Pfitzner in collaborations with Claudia Abbado, Pierre Boulez, Christian Thielemann and Mikhail Pletnev. Recent recordings on the BMG label are lieder by Schumann, Schubert's Winterreise, and a collection of Mozart con?cert and opera arias. His first recording for Deutsche Grammophon, released in June 1999, was Mahler's Des Knaben Wunderhorn with Anne Sofie von Otter and the Berlin Philharmonic conducted by Claudio Abbado. The Des Knaben Wunderhorn received the 1999 Grammy Award for best vocal performance while the Winterreise received a Grammy nomination in the same category.
The subject of numerous articles in the national press including Time, People and Esquire magazines, Mr. Quasthoff was also profiled on the CBS news program 60 Minutes.
Thomas Quasthoff began his vocal studies with Professor Charlotte Lehmann and Professor Huber-Contwig (musicology) in Hannover, Germany. His national and international awards include First Prize in the 1988 ARD International Music Competition in Munich, the Shostakovich Prize in 1996 (Moscow), and the Hamada TrustScotsman Festival Prize (Edinburgh International Festival, 1996). Since 1996 he has been professor in the vocal department of the Music Academy in Detmold, Germany where he maintains a vigorous teaching schedule.
Tonight's recital marks Thomas Quasthoff's debut under UMS auspices.
Born in Kiel, Germany, Justus Zeyen received his first piano lessons from the famous German pianist, Cord Garben. He then studied at the Hochschule fur Musik und Theater in Hannover with Martin Dorrie, Karl Engel and Bernhardt Ebert. He also participated in
masterclasses of Eric Werba, Mistuko Shirai and Hartmut Holl, and Dietrich Fischer-Dieskau. In 1982 and 1986 he was awarded scholarships by the Richard Wagner Foundation.
Since then, Mr. Zeyen has been a
well sought after pianist giving concerts in Europe, Japan and the US. He has worked with such artists as Bernd Weikl and Siegfried Lorenz and has been a guest at the festivals of Braunschweiger Kammersmusikpodium, Kissinger Simmer, Schleswig-Holstein, Schubertiade Feldkirch and the Oregon Bach Festival.
Beginning with concerts at the Lockenhaus Chamber Music Festival in 1994, (Gidon Kremer, director) Justus Zeyen has been the regular accompanist for Thomas Quasthoff. They have been heard at the Schubertiade Feldkirch, the Concertgebouw in Amsterdam, the Comedie des Champ Elysees in Paris, in Monte Carlo, the Moscow Conservatory, Berlin Philharmonic and many other major venues.
Justus Zeyen is also a teacher at the music academies of Detmold and Hannover.
Tonight's recital marks Justus Zeyen's debut under UMS auspices.
Michigan Chamber Players
Faculty and Student Artists of the University of Michigan School of Music
Juliana Athayde, Violin Justin Bruns, Violin Anthony Elliott, Cello Andrew Jennings, Violin Paul Kantor, Violin Gregory Lee, Violin Stephen Lusmann, Baritone Catherine Lynn, Viola Elizabeth Major, Soprano Stephen Miahky, Violin
Mary Ellen Morris, Cello Edward Parmentier, Harpsichord Benjamin Peled, Violin Nicholas Phan, Tenor Amy Porter, Flute Maria Sampen, Violin Stuart Sankey, Bass Yizhak Schotten, Viola Anthony Stoops, Bass Alejandre Urrutia, Violin
Wednesday Evening, March 22, 2000 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
J.S. Wadi (Birthday Celebration
In alien meinen Taten:
Cantata No. 97, BWV 97 (excerpt) Nicht ist es spat und fruhe, Versus II (Aria)
Lusmann, Parmentier, Elliott
Mache dich, mein Geist, bereit:
Cantata No. 115, BWV 115 (excerpt)
Bete aber auch dabei, Versus IV (Aria: Molto Adagio)
Major, Parmentier, Porter, Elliott
Overture (Suite) No. 2 in b minor, BWV 1067
Bouree I and II
Polonaise and Double
Porter, Parmentier INTERMISSION
Schweigt stille, plaudert nicht:
Cantata No. 211, BWV 211 (The Coffee Cantata)
Schweigt stille, plaudert nicht: Recitative (Narrator) Hat man nicht mit seinen Kindern: Aria (Schlendrian) Du boses Kind: Recitative (Schlendrian and Lieschen) Ei! wie schmeckt der Coffee: Aria (Lieschen) Wenn du mir nicht den Coffee: Recitative
(Schlendrian and Lieschen)
Madchen die von harten Sinnen: Aria (Schlendrian) Nun folge: Recitative (Schlendrian and Lieschen) Heute noch, heute noch: Aria (Lieschen) Nun geht und sucht: Recitative (Narrator) Die Katze lasst das Mausen nicht: Chorus (Lieschen,
Tenor, Schlendrian)
Major, Lusmann, Phan, Porter, Parmentier
Sixty-ninth Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
In alien meinen Taten:
Cantata No. 97, BWV 97 (excerpt)
Johann Sebastian Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in Leipzig
The vast majority of J. S. Bach's sacred can?tatas were composed for the weekly worship services at the St. Thomas church in Leipzig where he worked as cantor. Most were written during the mid-1720s, when Bach first took up the post. The chorale cantata BWV 97, In alien meinen Taten, does not, however, belong to this earlier series of cantata cycles. The autograph manuscript dates from 1734, but it is not known for what occasion he wrote it. It may have been an attempt to fill in gaps left by the earlier cantata cycles, but the opening movement, in the style of a French overture, suggests that it may also have been intended for an inauguration. (Only five of Bach's cantatas begin with a French Overture, and the other four were composed for various civic and religious inaugurations.)
The bass aria in g-minor, "Nich ist es spat und friihe" comes immediately after the opening chorus. The text (the second versus of the original hymn text by Paul Fleming) is an expression of faith in God's power to calm the troubled soul. Bach sets this verse as a gentle two-part continuo aria that remains mostly in the home key, modulating to c-minor at the start of the second section but quickly returning to tonic.
Mache dich, mein Geist, bereit: Cantata No. 115, BWV 115
(excerpt) J. S. Bach
Bach composed the Cantata BWV 115, Mache dich, mein Geist, bereit, for the twenty-second Sunday of Trinity in 1724. The text, based on the hymn by Johann Burkhard
Freystein, entreats the soul to awaken for the Last Judgement. The centerpiece of the can?tata, "Bete aber auch dabei," is surely one of the loveliest soprano arias Bach ever wrote. Scored for continuo, obligato flute and piccolo cello (a five-stringed instrument with a range between a cello and a viola), this ravishing and tranquil aria begins with a long duet by the obligato instruments, the continuo providing discreet harmonic sup?port. The voice enters in long notes, almost imperceptibly, and is never as rhythmically active as the flute and cello, as if to under?score the caution of the text: "Pray yet, even in the midst of keeping watch." The transition to the 'B' section is seamless, but the textual emphasis on Christ's power to cleanse the sinner (with its connotation of the crucifix?ion) leads to slightly more chromatic, mov?ing lines in the voice. Both instruments and voice share a rising figure of an ornamented third that Bach scholar Alec Robertson sug?gests is a reference to the heavenward plead?ings of the now-awakened soul.
Overture (Suite) No. 2 in b minor, BWV 1067
J. S. Bach
Beginning with Jean-Baptiste Lully, and for generations after, a concert performance of baroque dances from an opera or ballet was always preceded by the overture from the work in question. It wasn't long before composers began to write independent suites for orches?tral ensembles that followed this same pattern. German composers at the turn of the seven?teenth century, including Telemann, Fasch, and Fux, even used the title of "Overture" to refer not just to the first movement, but to the overture-suite as a whole.
It is in this same tradition that Bach wrote his four orchestral "overtures," BWV 1066-1069. In each, the first movement the
overture itselfis so extensive that it is really the most important movement of the suite. In these opening movements Bach combines the fugal allegro of Lully with the formal arrangement of a ritornello and the concer-tante textures of Vivaldi. In the movements that follow, Bach only made sparing use of the traditional dances found in orchestral suites of his day. He omits, for example, the allemande, but includes instead several addi?tional dances such as the bourree, gavotte, polonaise, and minuet. He also added "free" movements the badinerie, rejouissance and air -that are not dance-based at all.
Bach scholars have had trouble dating the composition the Orchestral Suite in b minor, BWV 1067. Although the earliest extant manuscripts are a set of parts from his later Leipzig years, some scholars believe the suite's style suggests it was composed while Bach was in Cothen (1717-1723). Others have concluded that the hybrid form, which blends the movements of a suite with the orchestration of a flute concerto (solo flute, strings, and continuo) indicates it may have a much later composition date, possi?bly even the last orchestral work he wrote.
The opening overture is in the French style, with a grave dotted-rhythm passage moving into a lively and extensive fugue. (The repeat of the fugue, though notated in the score, is not usually observed in modern performances.) The suite stays in b minor for all the remaining dance movements. First is a "Rondeau," an uncomplicated dance with an affectingly naive main theme, and a stately "Sarabande" in which the traditional empha?sis on the second beat is hardly noticeable at all. The two lively "Bourrees" that follow are played without a break, the first being repeat?ed after the second in da capo fashion. The "Polonaise" is also treated as a three-part form, with a "Double" (a solo variation played over the original melody, which has been transferred to the bass) forming the central section. Unusually, the "Polonaise" is
marked lentement; this is the only one of Bach's compositions to include this particular French tempo indication. The elegant "Menuet" makes much use of appogiatura in the melody, emphasized by the long, held notes in alternate measures. Since it is not a dance-based movement, the final "Badinerie" (literally, a "jest or joke," but usually inter?preted as "trifle") has no standard form or rhythmic character. Here Bach writes a show?piece for the flute, a rolicking finale that highlights the soloist's agility and virtuosity.
Schweigt stille, plaudert nicht: Cantata No. 211, BWV 211
(The Coffee Cantata) J. S. Bach
One of Bach's numerous musical responsi?bilities in Leipzig was director of the Collegium Musicum, a group of music lovers that meet every Friday evening at Zimmermann's coffee house to perform music. Consisting largely of university stu?dents, the Collegium numbered at times up to forty participants, and according to con?temporary reports the standard of musical performances was exceptional.
It seems certain that Bach composed his most famous secular cantata, the "Coffee Cantata" some time in late 1734 or early 1735, to be performed at Zimmermann's by the Collegium. This cantata is in the form of a small drama, complete with narrator, to a libretto by Picander (the pen name for Christian Friedrich Henrici, librettist for several of Bach's sacred cantatas as well). This is the closest Bach ever came to writing an opera. It has features of both popular and galant styles, as well as the realism of setting and character that was characteristic of the emergent opera buffa genre. In pro?portion and style it is rather similar to Pergolesi's La Serva Padrona, which was composed around the same time.
In this short narrative, Lieschen, a willful young lady, is addicted to coffee, despite her grumpy old father Schlendrian's disapproval. The exasperated Schlendrian threatens to prevent her from marrying unless she gives up coffee. Lieshcen agrees, but (in an addi?tion to the libretto that Bach may have writ?ten himself) adds the stipulation that her suitors must be willing to indulge her addic?tion once they are married. In the first aria, "Hat man nicht mit seinen Kindern," the mirthless Schlendrian (a name that could translate roughly as "Mr. Stick-in-the-mud") complains about his daughter's addiction with stubbornly insistent repeated notes. Lieschen responds in a lilting da capo aria on the joys of coffee ("lovelier than a thousand kisses, milder than muscatel wine"), while the ornaments in the flute obligato curl with the allure of the beverage's distinctive aroma. The father's second aria is just as stern, and more chromatic, as he plans to compel his daugh?ter's obedience. Lieschen then sings a dance-like aria in which she agrees to give up coffee for the possibility of a "proper lover". But the narrator's recitative informs the audience of Lieschen's private stipulation, and the final light-hearted trio outlines the inevitability of coffee's appeal: "Cats won't stop catching mice, and maidens remain faithful to their coffee." No doubt the management at Zimmermann's coffee house was grateful for the free advertisement.
Program notes by Luke Howard.
Juliana Athayde is a sophomore violin per?formance major in the School of Music. A native of the San Francisco Bay Area, Juliana has soloed with the Contra Costa Chamber and Holy Names College Orchestras, the Diablo, Flint, Plymouth, Young People's, and San Francisco Symphony Orchestras. Currently a student of Paul Kantor, she has
also worked with Almita and Roland Vamos, Donald Weilerstein, Irene Sharp, Bonnie Hampton, Zakhar Bron, Pinchas Zuckerman, and Midori. Juliana has played under Roger Norrington, Leonard Slatkin, and Michael Tilson Thomas while concertmaster of the San Francisco Symphony Youth Orchestra and is now concertmaster of the Plymouth Symphony.
Justin Bruns is a senior at the University of Michigan, where he is enrolled in the Artists and Scholars Honors Program and studies with Paul Kantor. Mr. Bruns has appeared as soloist with the Colorado, Jefferson, Littleton, Rocky Mountain (Lakewood), and University (Michigan) Symphonies, the Chester and Stockport Philharmonics, and the Sinfonia of Colorado. In addition to performing recitals in eight US states, he also gave two recital tours in England, play?ing in Birkenhead, Birmingham, Chester, Lincoln, Liverpool, Manchester, Winchester, and in Wales. He has occupied concertmas?ter and principal positions in eleven orches?tral organizations, and has visited numerous summer festivasl and camps including Aspen Music Festival and the National Repertoire Orchestra. At Michigan, he coaches and performs regularly with the music school faculty and fellow students.
Anthony Elliott, a protege of Janos Starker and of Frank Miller, won the Feuermann International Cello Solo Competition, which was followed by a highly successful New York recital. Mr. Elliott has given master classes at most leading American conservatories. He is a frequent soloist with major orchestras, including those of Detroit, Minnesota, Vancouver, CBC Toronto, and the New York Philharmonic. His CD of Kabalevsky, Martinu, and Shostakovich sonatas received a rave review from Strad Magazine of London and was named a "Best Buy of 1991" by the Houston Post. In demand as a chamber musi-
cian, Mr. Elliott has been a guest artist at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas chamber music festivals, New York's Blossom Music Festival, Houston's Da Camera Series and the Victoria International Festival. He devotes his summers to teaching and performing at the Aspen Music Festival and School. Mr. Elliott, who holds the performer's certificate and a Bachelor of Music degree with honors from Indiana University, joined the faculty in 1994.
Andrew Jennings graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, and Raphael Druian. He was a founding member of the Concord String Quartet, a new ensem?ble that quickly gained international recog?nition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts throughout the US, Canada and Europe. Specializing in the performance of new works, the Quartet gave more than fifty premieres and commissions; it also made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings' teaching career began at Dartmouth College where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculties of the University of Akron and of Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center.
Violinist Paul Kantor, Chair of the String Department at the University of Michigan School of Music, has appeared as concerto soloist with a dozen symphony orchestras, has served as concertmaster of several orchestral ensembles including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra, and Great Lakes Festival Orchestra, and has been guest concertmaster of the New Japan Philharmonic and of the Toledo Symphony Orchestra. He
has been especially active as a chamber musician with such groups as the New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble. Mr. Kantor held concurrent appointments at Yale University (1981-88), the New England Conservatory (1984-88) and The Juilliard School (1985-88). Since 1980 he has spent summers as a member of the artist-faculty at Aspen, where he was concertmaster of both the Chamber Symphony and the Festival Orchestra. His principal teachers are Margaret Graves, Dorothy DeLay and Robert Mann.
Gregory Lee is acclaimed as one of the promising young violinists in Australia. He graduated from The Juilliard School at the age of twenty and the same year was awarded the University Medal from the Queensland Conservatorium. He now studies with Paul Kantor at the University of Michigan where he is pursuing a Doctoral of Musical Arts in Performance. At a young age, Gregory com?menced studying at the Queensland Conser?vatorium Music School where he studied with Kerry Smith and Carmel Kaine. Throughout his music study, Gregory has been encouraged by many awards and prizes, including the Bach Prize, the Paganini Prize, the Ronald Clifford Davis Scholarship, and the Duke Kapp Scholarship. He is a mem?ber of the Orpheus Trio, winning the Gertrude Langer Fine Music Ensemble Award and touring Queensland for the Queensland Arts Council. For the last three years he has been a fellowship recipient at the Aspen Music Festival.
Stephen Lusmann, Assistant Professor of Voice, has sung leading roles with major opera houses including the Oper der Stadt Bonn, Opera de Monte Carlo, Stadttheater Luzern, Washington Opera, New York City Opera, Cincinnati Opera, Opera Company of Philadelphia, and the Boston Opera
under important conductors and directors including Leornard Slatkin, Christopher Keene, Anton Guadagno, Franco Zefferelli, Gian Carlo Menotti, and Gian Carlo del Monaco. As an active concert soloist he has performed at Carnegie Hall, Alice TuUy Hall in Lincoln Center, the Anchorage Choral Festival, Chautauqua Institute, and with numerous symphony orchestras. He received his undergraduate degree from SUNY at Fredonia and holds the Master of Music and Artist Diploma in Opera from the University of Cincinnati-College Conservatory of Music. Mr. Lusmann has taught at the Lawrenceville School in New Jersey and at the West Virginia Governor's School for the Arts at Fairmont State College.
Currently a doctoral student in viola performance at the U-M School of Music, Catherine Lynn is active as a soloist, orches?tral player, and chamber musician. She was a finalist in the 1999 William Primrose Competition as well as the 1998 ASTA Competition. Last summer she was a princi?pal violist of the Tanglewood Music Festival Orchestra, and she is currently principal violist of the Flint Symphony Orchestra. Ms. Lynn' is a member of the U-M Graduate String Quartet.
Elizabeth Major has appeared as soloist with the Chicago Symphony Orchestra, led by Sir Georg Solti, The Ravinia Festival, the Grant Park Symphony and the Hartford Symphony. In recent seasons Ms. Major has sung the Mozart Requiem with the Grand Rapids and Ann Arbor Symphonies, Musetta with the Illinois Symphony and Villa-Lobos' Bachianas Brazilianas, No. 5 with Chamber Music Ann Arbor. She has sung principal operatic roles with the Lake George Opera Festival, Connecticut Opera and she toured India with the Minnesota Opera. Ms. Major is currently a member of
both the voice faculty at the University of Michigan and the Israel Vocal Arts Institute in Tel Aviv.
Stephen Miahky is a senior at the University of Michigan pursuing a violin performance degree under Stephen Shipps. Stephen has won several competitions, including the Louis Lane Competition and the University of Michigan Concerto Competition. As a chamber musician, he has performed with the Michigan Chamber Players, Chamber Music Ann Arbor, and Strings in the Mountains. He has collaborated with such musicians as Nicholas Eanet, Paul Kantor, Andrew Jennings, Carolyn Huebl, David Harding, Stephen Shipps, David Hardy, Yizhak Schotten, and Owen Carman. Stephen has performed at many summer festivals including Encore, Meadowmount, Sewanee, the National Orchestral Institute, Blossom, and Steamboat Springs. His violin is on loan through the generosity of the Virtu Foundation.
A native of Haddonfield, New Jersey, cellist Mary Ellen Morris is currently pursuing her DMA in cello performance at the University of Michigan where she is a student of Anthony Elliott. She has performed throughout the Philadelphia area where she was a member of the Haddonfield and Reading symphonies, Pennsylvania Pro-Musica, and the Herencia String Quartet. She holds degrees from Rice University and the University of Minnesota and has per?formed with many summer festivals throughout the US and Canada.
Edward Parmentier, harpsichordist, has played concerts recently throughout the country of Estonia, for the Kalamazoo Bach Festival, for the University of Michigan Organ Conference, and for the Berkeley Early Music Festival. This fall, he plays con?certs at the Universities of Colorado,
Montana and North Carolina. Last summer Mr. Parmentier performed at the Boston Early Music Festival, and will perform at the Berkeley, California, Early Music Festival in 2000. Mr. Parmentier is Professor of Music (harpsichord, Early Music Ensemble) at the School of Music, University of Michigan. In addition to instrumental performance, Mr. Parmentier conducted the Windsor Symphony in November and will teach harpsichord workshops on Bach at the University of Michigan next summer.
Nineteen-year-old Benjamin Peled has won many awards including honors in the Chicago Symphony's Illinois Young Performers Competition, the American String Teachers' Association State and National Semi-Finals Solo Competition, the Elgin Young Virtuosi Competition, the MacDowell Scholarship Competition, the Mollendorf Award from the Chicago Youth Symphony Orchestra, and the Arts Recognition Talent Search National Competition. He has soloed with the Oak Park River Forest Symphony, the Oak Park River Forest High School Symphony, the West Suburban Youth Symphony, and the Windy City String Ensemble on their Australian tour. In May of this year, he will perform the Tchaikovsky Violin Concerto with the Northwest Symphony. He was Concertmaster of the Chicago Youth Symphony Orchestra, the Encore Chamber Orchestra of the CYSO, the Eastern Music Festival Student Orchestra, and the Windy City String Ensemble. As a substitute in the Civic Orchestra of Chicago, he per?formed under Pierre Boulez and Mstislav Rostropovich. At present he studies with Paul Kantor at the University of Michigan.
Nicholas Phan, tenor, is currently a junior, where he studies voice with Prof. Rosemary Russell. Mr. Phan was named the Most Outstanding Vocal Soloist in the State of Michigan in 1996 by the Michgan State
Vocal Music Association. Mr. Phan has per?formed the roles of the Governor in Leonard Bernstein's Candide and Prince Hilarion in Gilbert and Sullivan's Princess Ida. Last summer, Mr. Phan attended the Aspen Music Festival where he sang the role of Tom Buchanan in a reading of John Harbison's new opera, The Great Gatsby.
Amy Porter has served as associate principal flute in the Atlanta Symphony Orchestra from 1991 until her Michigan appointment in 1999. She has also been a member of the Atlanta Chamber Players and the New Jersey State Opera Orchestra. Since winning First Prize in the National Flute Association Young Artists Competition in 1990, she has three times been a featured performer in the Association's annual meetings. She has given recitals at Weill Hall of Carnegie Hall, where she made her New York debut in 1987, at the Victoria (Texas) Bach Festival, at the State University of West Georgia, and at Georgia State. Broadcast performances have included recitals on radio in Atlanta and Philadelphia; Ms. Porter was highlighted on one of PBS's Live from Lincoln Center tele?casts celebrating "Juilliard at 80" from which Ms. Porter holds two degrees. She has taught in summers at the Brevard (North Carolina) Music Center since 1996.
Violinist, Maria Sampen graduated summa cum laude from the University of Michigan, where she was a scholarship student of Paul Kantor in the School of Music. She complet?ed her Masters of Music degree at Rice University in May, 1999 where she studied violin with Kenneth Goldsmith and cham?ber music with Paul Katz and Norman Fischer. She is currently working on her doctorate in violin performance at the University of Michigan. Ms. Sampen made her solo debut with the Toledo Symphony Orchestra in Ohio. She has since performed as concerto soloist with numerous orches-
tras throughout the country and was named winner of the concerto competitions at both the University of Michigan (1996) and Rice University (1998). She has spent her sum?mers performing as a fellow at the Aspen Music Festival and the Tanglewood Music Festival as well at the Mozarteum Sommerakademie in Salzburg, Austria and the Interlochen Arts Camp. An active pro?ponent of contemporary music, she has worked with many composers including Pierre Boulez, William Bolcom, John Harbison, Bernand Rands and William Albright. Ms. Sampen concertizes frequently with her parents saxophonist, John Sampen, and composerpianist, Marilyn Shrude with whom she made her New York City debut at Lincoln Center's Bruno Walter Auditorium in June of 1996.
Stuart Sankey has enjoyed success as a per?former and also as a composer, writer and editor. He has published four original com?positions and is the editor and arranger of fifty editions, including several original works, for the double bass. Prior to coming to Michigan in 1986, he taught at Indiana University, the University of Texas at Austin, and at The Juilliard School. He has given master classes and lectures and has adjudi?cated nationally and in the Far East. Mr. Sankey was the recipient of the first award given by the International Society of Bassists to an outstanding teacher. He has taught and performed at the Aspen Music Festival for forty-seven years. His former students hold significant academic appointments and are members of celebrated orchestras including those of Boston, Cleveland, New York, San Francisco, and the Metropolitan Opera.
Yizhak Schotten was born in Israel and brought to the US by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Mr. Schotten has con-
certized in Israel, Holland, England, Austria, Japan, Taiwan, Malaysia, Mexico, and Canada and has performed on many con?cert series across the US. He was a member of the Boston Symphony, an exchange member of the Japan Philharmonic, and principal violist of both the Cincinnati and Houston symphony orchestras. As a soloist, he has performed with orchestras under such conductors as Ozawa, Schippers, and Comissiona. While a member of the Trio d'Accordo, the ensemble won the Concert Artists Guild International Competition. His CRI recording was chosen as Critics' Choice by High Fidelity; he has also record?ed two albums and two compact discs for Crystal Records. He is music director of the Maui Music Festival in Hawaii and of the Strings in the Mountains Festival in Steamboat Springs, Colorado, and is a pop?ular presenter of master classes for young violists throughout the US and abroad. Before joining the faculty in 1985, Mr. Schotten taught at the University of Washington and at Rice University.
Alejandra Urrutia started playing the violin at the age of eight in her native country of Chile. At fourteen, she was awarded at scholarship to continue her studies at Columbus State University with the violinist Patricio Cobos. Since then, Ms. Urrutia has appeared as soloist with the National Symphony of Chile, the National Youth Orchestra of Chile, the Concepcion Symphony, the Columbus State University Orchestra and the Chamber Orchestra of Morelos, Mexico. She has participated in master classes of David Kim, Cho-Liang Lin, Robert McDuffie, Pamela Frank, and Robert Mann. Ms. Urrutia is currently member of the Rosseels String Quartet and member of the ensemble Brave New Works. She is pur?suing a DMA in Violin Performance with Paul Kantor at the University of Michigan.
Chamber Orchestra for Overture (Suite) No. 2 in b minor
Violin I
Andrew Jennings,
Stephen Miahky Juliana Athayde Benjamin Peled Justin Bruns
Violin II
Paul Kantor Maria Sampen Gregory Lee Alejandre Urrutia
Yizhak Schotten Catherine Lynn
Anthony Elliott Mary Ellen Morris
Stuart Sankey Anthony Stoops
Chamber Orchestra for Schweigt stille, plaudert nicht: Cantata No. 211
Violin I
Paul Kantor, Leader Alejandre Urrutia Gregory Lee Maria Sampen Justin Bruns
Violin II
Andrew Jennings Juliana Athayde Benjamin Peled Stephen Miahky
Yizhak Schotten Catherine Lynn
Anthony Elliott Mary Ellen Morris
Stuart Sankey Anthony Stoops
Herbert Sloan
Chen Shi-Zheng, Director Eve Beglarian, Composer
Conceived by Chen Shi-Zheng and developed in collaborate with Eve Beglarian and Akira Matsui.
Friday Evening, March 24, 2000 at 8:00 Michigan Theater, Ann Arbor, Michigan
Seventieth 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.
Special thanks to Herbert Sloan for his generous and continued support of the University Musical Society.
Additional support provided by Skip Ungrodt through Ideation.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Brett Johnson, Erik Fredrickson, Center for Chinese Studies, Center for Japanese Studies, Center for Korean Studies, International Institute, World Performance Studies, U-M School of Music, U-M Department of Dance, U-M Museum of Art, and the U-M Department of Theater for their assistance in this residency.
Forgiveness is co-commissioned by:
Asia Society
Festival d'Automne a Paris
Flynn Theatre for Performing Arts
Hebbel Theatre Berlin
University Musical Society of the University of Michigan
Walker Art Center
Forgiveness is produced by Asia Society.
Large print programs are available upon request.
Akira Matsui Zhou Long Kang Kwon Soon Song Hee Lee Chen Shi-Zheng Kenny Endo
Musicians Wu Man Kenny Endo Zhou Ming
Japanese GhostGeneral Matsui
Chinese Ghost
Korean Comfort Woman 3721.000Vocalist
Korean ShamanComfort Woman
Chinese pipa (lute)bells
Piridizi (reed)Zsheng
Set Designer Scott Pask
Lighting Designer Clifton Taylor
Costume Designer Anita Yavich
Projection Designer Elaine McCarthy
I've always been fascinated with the similarity and the contrast of Korean shaman dance, Japanese noh theater, and Chinese opera; and with the unbreakable cross-influence in these cultures. I've also been constantly disturbed by the sorrowful history of East Asia in the twentieth century that has left generations with a tremendous anger in encountering the past.
Forgiveness is an attempt to reconcile the unforgiven history of East Asia by inventing a new theater expression that is derived from the classic Asian theater tradition.
Inspired by a two-thousand-year-old Chinese ghost revenge story Fa Zi Du and by a Japanese noh theater play Doujyoji, Forgiveness is a ritual for the dead and an initiation for a new beginning.
I'd like to express my sincere thanks to my collaborators Akira Matsui and Eve Beglarian for their generous support and countless contributions. I also want to express my deep gratitude to the entire cast for their trust and courage to be in this production.
-Chen Shi-Zheng
Scene I Scene II Scene III Scene IV Scene V Scene VI Scene VII Scene VIII
Tomurai (Mourning)
Hiding Something Ugly that Shames You
Samurai Song
My Anger Will Never Be Satisfied
Vengeance is Mine
Samurai Song (Version 2)
Remember Me
Samurai Song by Robert Pinsky, first published in The New Yorker.
Chen Shi-Zheng (Director) most recently directed The Peony Pavilion, a twenty-hour fifty-five-act Ming dynasty opera commis?sioned by Lincoln Center Festival and Festival d'Automne a Paris. His original pro?duction was banned by the Shanghai Cultural Bureau in 1998. It was resurrected in 1999 with a new cast and premiered to rave reviews in New York in July at Lincoln Center Festival, followed by a tour to Caen, Paris, Milan and Perth with a further inter?national tour planned. Chen Shi-Zheng was a leading traditional opera actor in China and also made pop and folk records. Since moving to the US in 1987, he has appeared as a principal in operas by Meredith Monk and Tan Dun, and performed solo vocals at Lincoln Center, New York; Theatre Odeon, Paris; Queen Elizabeth Hall, London; and major festivals worldwide. Directing credits include: Kindness, a musical-theater piece at the Center for Contemporary Arts in Santa Fe; The Child God for Bang on a Can Festival; a new adaptation of Euripides' Greek tragedy The Bacchae, premiered by China National Beijing Opera Company in Beijing in 1996, and toured to the Hong Kong Arts Festival and Athens Festival in 1998; and Alley, a contemporary opera, for New Zealand International Festival. His future projects include Cost fan tutte for the Aix-en-Provence Festival to open in July. He is also developing a feature film with the working title The Dark Matter Problem for production in 2000.
Eve Beglarian (Composer) has been described as "one of new music's truly free spirits" (The Village Voice). She is a compos?er, performer, and audio producer whose work has been performed in the most main?stream concert halls and theaters as well as in clubs and lofts. Her chamber music has been commissioned and performed by the California EAR Unit, Relache, the Paul
Dresher Ensemble, the Crosstown Ensemble, Dinosaur Annex, and the New York New Music Ensemble, among others. Her experience in music theater includes the collaboration Ordo Virtutum, directed by Grethe Barrett Holby, which premiered at the Lincoln Center Festival last summer, and the China National Beijing Opera Theater's production of The Bacchae, directed by Chen Shi-Zheng. Her performing duo, twisted tutu, with keyboard player Kathleen Supove, blends high technology with the?ater. Current projects include music for Mabou Mines' Animal Magnetism, directed by Lee Breuer; a music-theater piece based on Stephen King's The Man in the Black Suit; and an orchestra piece commissioned as part of the Continental Harmony project for Orchestra X and DiverseWorks in Houston. Recordings of her music are avail?able on CRI Emergency Music, OO Discs, Accurate Distortion, Atavistic, and Kill Rock Stars.
Akira Matsui is a master actor-teacher of the Kita School of Japanese classical noh theater. He was born in 1946 in Wakayama, south of Osaka, and began studying noh at the age of five. He showed such talent that, at age twelve, he became a "live-in appren?tice" to Kita Minoru, the fifteenth genera?tion of noh masters of the Kita School (one of the five guilds of shite main role actors). Matsui performs noh regularly in Japan. He has trained student actors in noh in many foreign countries including India, Australia, Germany, England, and has offered master classes at colleges and theaters across the US and Canada. Matsui performed in the US tour of the Dragon Bond Rite, commissioned by The Japan Society. He was a featured per?former at the Brooklyn Academy of Music's Next Wave Festival in 1998. Also in 1998, he received Intangible Cultural Treasure status from the Government of Japan.
Kenny Endo is an internationally known taiko (Japanese drum) performing artist and leader in the field of utilizing the traditional taiko in innovative jazzfusion settings. A native of Los Angeles, he began early train?ing in Western drums and percussion for performance with classical, jazz, and rock musicians. In 1975, he began working with the San Francisco Taiko Dojo and in 1980 embarked on a decade-long odyssey in Japan studying with masters in classical, fes?tival, and group drumming. He is the first non-Japanese national to be honored with a natori, stage name and master's degree in classical Japanese drumming called Hogaku Hayashi. Endo has performed with such artists as jazz drummer Art Blakey, Latin percussionist Airto Moreira, taiko artist Hayashi Eitetsu, jazz musicians John Kaizan Neptune (shakuhachi, flute), Paul Jackson (bass), and tsugaru shamisen artist Sato Michihiro. He leads three ensembles based in Honolulu, Los Angeles, and Tokyo. In 2000, Endo will collaborate with Hawaiian Slack Key guitarist Keola Beamer; present a concert of new works in Tokyo, headline the Second Hawaii International Taiko Festival, and perform at the Hawaii Jazz Festival. He will be a guest soloist with the Hong Kong Philharmonic in 2001.
Kang Kwon Soon is a leading vocalist of new and traditional music in Korea. She trained as a traditional singer in both court and folk styles, and is a specialist in the vocal traditions of the refined Korean chun-gak classical music of the literati. She has performed with many important ensembles and orchestras such as Seoul Metropolitan Traditional Orchestra, National Traditional Performing Arts Center, and the Korean Court Music Association, as well as at the Celebration of Buddha's Birthday at Bulkook-temple and the Fiftieth Anniversary of Liberation and at the Korea Festival. She was a featured singer in Jin Hi
Kim's production of Dragon Bond Rite which premiered at the Walker in 1997. In 1999 she participated in the Flying Circus Project in Singapore with TheatreWorks.
Song Hee Lee was born in Pusan, Korea where she studied both traditional Korean and modern dance from the age often. She is particularly noted for her performances of both new work and Sal'puri (traditional Korean dance that is inspired by the shaman tradition). Upon graduation from college, she joined the Pusan Metropolitan Dance Company where she became the principal dancer of the company. She premiered her choreographic solo work Karma in New York last year and is currently working on a new piece Karma II: 108 Defilements in Purification. She is currently teaching Korean dance in New York City.
Wu Man is one of China's most outstanding pipa (traditional lute) players. In addition to the traditional pipa repertoire, Wu Man is also internationally recognized for her inter?pretations of contemporary pipa music. She has collaborated with groups including the New York New Music Consort, Stuttgart Chamber Orchestra, the BBC Chamber Orchestra (Scotland), and the Kronos Quartet. Wu has also performed at numer?ous festivals and venues including Festival d'Automne a Paris, the Hong Kong Festival, and the Bang on a Can Festival. Wu Man is the 1998-1999 fellow of the Bunting Institute of Radcliffe College.
Zhou Long is one of the most highly acclaimed jingju (Peking Opera) artists in China today. He started his formal study of the opera at the age of eight with one of the best-known jingju masters, formally enrolling in the Beijing Opera Academy when he was only twelve. He has been guest lead-actor with many different jingju com?panies in China and has performed
throughout Asia and in England. In 1996, he performed the lead part of Dionysus in Chen Shi-Zheng's jingju version of the Bacchae. He recently performed the part of Quasismoto in a jingju version of Victor Hugo's The Hunchback of Notre Dame. He has published essays and articles on differ?ent aspects of performance technique and contemporary creativity in jingju.
Zhou Ming was educated at the Shanghai School of Traditional Opera (Kunju). He is a master of the dizi, a bamboo Chinese flute, the importance of which in the Kunju opera orchestra is equivalent of the first violin in Western orchestral music. Zhou has studied with the masters of Kunju music for the last twenty years, and is widely regarded as the leading flute player in China. He performed as the lead musician in over twenty-five major Kunju operas for the Shanghai Kunju Opera Company. In addition, he has led music ensembles in Japan and Taiwan as a guest conductor. Zhou Ming was music director and flutist in Chen Shi-Zheng's productions of The Peony Pavilion.
Elaine J. McCarthy's (Projection Designer) current and most recent designs include work on War and Peace for The Kirov Opera, The Gate for The NHK Symphony Orchestra, Spirit for Back Row Productions, Art Spiegelman's new comic book opera, Drawn to Death, for Harvard University's Institute on the Arts and Civic Dialog, Goodbye My Friduchita for The Directors Company, Children of War for the Asia Society, Don Byron's Tunes & Cartoons for the Brooklyn Academy of Music, Peter Sellar's The Peony Pavilion for Vienna Opera, A Coffin in Egypt for the Bay Street Theatre, Portraits of the Family for Cloud Gate Dance Theatre of Taiwan, Blue Man Group: Tubes Chicago, Remote for White
Oak Dance Project, Woyzek of Sarajevo for the Lincoln Center Director's Lab, Philip Glass and Susan Marshall's Les Enfants Terrible for International Production Associates, Cuba Libre for NYC's INTAR Theatre, Recovering the Dark for The Kitchen, and the 1996 and 1997 Council of Fashion Design Awards (formerly the Coty Awards) at Lincoln Center's State Theatre.
Scott Pask (Set Designer) won great critical acclaim for his set designs in the hit play Bash by Neil LaBute, directed by Joe Mantello, at off-Broadway's Douglas Fairbanks Theatre and LA's Canon Theatre. His work can recently be seen in The Donkey Show, the enormously popular the?atre event created and directed by Diane Paulus, at NYC's El Flamingo Club, The Bomb-itty of Errors the new rap musical off-Broadway at 45 Bleecker, and the national tour of the native-American concert dance Spirit, directed and choreographed by Wayne Cilento, which Scott originally designed for its PBS television broadcast. His recent co-design with Robert Brill for Paula Vogel's The Mineola Twins, starring Swoosie Kurtz, directed by Mantello, for the Roundabout won them the 1999 Lucille Lortel Award for Outstanding Set Design and the 1999 American Theatre Wing's Henry Hewes Design Award.
Clifton Taylor's {Lighting Designer) career in design has spanned dance, theatre, opera and architectural consulting. Principally a lighting designer for dance theatre, Mr. Taylor has worked for theatres and compa?nies throughout the world, in over fifteen countries in Asia, Europe and the Americas. His extensive credits include work in the repertories of the American Ballet Theater, the Alvin Ailey American Dance Theater, Houston Ballet, Pacific Northwest Ballet, the Lar Lubovitch Dance Company (residing lighting designer), the ballet company of the
city of Rio de Janeiro, the Maggio Musicale in Florence, Italy, the American Ballroom Theatre, New York's Julliard School for Music and Dance, Maria Benitez' Teatro Flamenco, the Elisa Monte Dance Company (resident lighting designer), BuglisiForeman Dance Company (resident lighting designer), Carlota Santana Spanish Dance Company, and Sardono Dance Theatre of Indonesia.
Anita Yavich's (Costume Designer) most recent designs include Sueno (Manhattan Class Company), As You Like It (Williamstown Theatre Festival), Civil Sex and Pericles (New York Shakespeare Festival), Red (Manhattan Theatre Club and Long Wharf Theatre), Mere Mortals and Others (John Houseman Theatre and Primary Stages), Easter (Naked Angels), Second Hand Smoke (Primary Stages), Cloud Tectonics (Playwrights Horizons), Trojan Women, A Love Story (En Garde Arts), The Universe (Ontological-Hysteric Theatre), and Dark Ride (Soho Rep).
Asia Society was founded in 1956 by John D. Rockefeller, III. Headquartered in New York City, with regional centers and repre?sentative offices in major cities in the US and Asia, it is America's leading institution dedicated to fostering understanding of Asia and communication between Americans and the peoples of Asia and the Pacific. Through performances, art exhibitions, films, lectures, seminars and conferences, publications and assistance to the media, and materials and programs for students and teachers, Asia Society presents the uniqueness and diversity of Asia to the American people. The Performing Arts division aims at bringing innovative works by Asians and Asian Americans to a wide American audience. It actively seeks to
create opportunities for Asian and Asian American artists to interact and collaborate as well as lay the foundations for new work.
Production Staff
Jim Larkin, Production Manager
Brenna St. George Jones, Stage ManagerLighting
Kurt Ralske, Sound Engineer John Kristiansen, Costume Dressmaker Natsuko Inoue, Artist AssistantTranslator Vishakha DesaiAsia Society, Senior Vice President Rachel CooperAsia Society, Producer Frances HuiAsia Society, Administrative Associate
Forgiveness is supported by grants from Wallace-Reader's Digest Funds; National Endowment for the Arts; Meet The ComposerInternational Creative Collaborations Program, in partnership with the Ford Foundation; The Booth Ferris Foundation; The Rockefeller Foundation's Multi-Arts Production Fund; Albert Kunstadter Family Foundation; New York State Council on the Arts; Asian Cultural Council; and the Inroads Program developed and managed by Arts International, a division of the Institute of International Education. Inroads is made possible through the Internationalizing New Work in the Performing Arts initiative of the Ford Foundation. Support for the Asia Society's Cultural Programs is provided by the Friends of Asian Arts.
Special thanks to Lisa Booth, Bun Ching Lam, Chen Tao, Rick Emmert, Chizuko Endo, Grethe Holby, Hilary Jackson, Jacqui LeClair, Winnie Lee, Susanna Meyer, Meg Nezu, Robert Pinsky, Stan Pressner, Brian Richie, Ned Rothenberg, Ralph Samuelson, Orville Schell, Sen He Ha, Peter Seybolt, Heather Steliga Chen, Jennifer Tipton, and Valeria Vasilevski.
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 Julien featuring Bebe Miller and Ralph Lemon. Friday, January 14, 7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Building. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance.
Advanced 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 WEMU and 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 Andri, 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 Shiftman Foundation, Sigrid Christiansen and Richard Levey. Additional support provided by Randy Parrish Fine Framing and Art. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, January 30, 4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
UMS Performing Arts Teacher Workshop "Jazz in the Classroom" Wednesday, February 2, 4 p.m. To register call 734.615.0122. $ Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music. Observation only. Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Made possible by a gift from David and Martha Krehbiel, "to honor the memory of Bertha and Marie Krehbiel for whom music was life." Additional support pro?vided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and The Swedish Round Table Organizations. Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center Master of Arts Interview with Meredith Monk interviewed by Beth Genne U-M Professor of Art History Dance HistoryDance. Tuesday, February 8, 12 noon, U-M School of Music Recital Hall. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, U-M Department of Composition and the U-M Department of Dance. PREP "Goddess Meredith: The Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9, 7 p.m., Michigan League Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Tliis project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10, 3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies and the U-M Office of the Provost; and the North American Secretariat for the International Center for African Music and Dance. Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Martha Clarke Vers la flamme
Christopher O'Riley, piano Friday, February 11,8 p.m. Power Center
Master of Arts Interview with Martha Clarke, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Friday, February 11,12 noon, Betty Pease Studio, U-M Dance Building, 2nd Floor. In conjunc?tion with the Institute for Research on Women and Gender, and the U-M Department of Dance. Meet trie Artist Post-performance dialogue from the stage. Advanced Modem 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 AM Akbar Khan
accompanied by
Zakir Hussain
Friday, March 17, 8 p.m.
Hill Auditorium
Sponsored by Megasys Software Services,
Inc. Media sponsor WDET.
American String Quartet
Beethoven the Contemporary Sunday, March 19, 4 p.m. Rackham Auditorium Meet the Artist Post-performance dialogue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP "The Art is Song" with Richard LeSueur, Vocal Arts Information Services. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Mini-Course"lap.m, 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 VVGTE.
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-Chave'z-Park Visiting Professors Program and the Office of the Provost. Support is also provided by the Institute for Research on Women and Gender and the Center for Afroamerican and African Studies. Media sponsors WEMU and Metro Times.
Season Listing continued on page 33
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Ben Johnson, UMS Director of Education and Audience Development. Tuesday, February 1,12 noon, U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,12 noon, U-M Dance Building, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance. PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. This project is supported in part by a grant from the National Endowment for the Arts.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre Vocal Master Class with Susanne Mentzer. Friday, April 14, 2:30 p.m., U-M School of Music Recital Hall. Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium Made possible by a gift from the estate of William R. Kinney.
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16,4 p.m. Hill Auditorium Presented with the generous support of Carl and Isabelle Brauer.
Lincoln Center Jazz Orchestra Dance Tour
with Wynton Marsalis Saturday, April 22, 8 p.m. EMU Convocation Center
Swing Dance Lesson with the Lincoln Center Jazz Orchestra Dancers. Saturday, April 22,6:30 p.m., Eastern Michigan University Convocation Hall. Tickets to the performance required for entry. Sponsored by Hudson's Project Imagine. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
Oscar Peterson Quartet
Wednesday, April 26, 8 p.m. Hill Auditorium Media sponsor WEMU.
Ford Honors Program
Friday, May 5, 7 p.m. Hill Auditorium and Michigan League Sponsored by Ford Motor Company Fund.
ord Honors Program Honorees
Jessye Norman
1998 Garrick Ohlsson
1999 The
Canadian Brass
The Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors _____ a world-
renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays trib?ute to and pre?sents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. This sea-
son's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
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 Mand'mka 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 ? "Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
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 Ali 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 Petersoti 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 Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 734.769.5960 As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines by the glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
Weber's Restaurant
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
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. ' The list below represents names of current donors as of November 3, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. UMS would also like to thank those generous donors who wish to remain anonymous.
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. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation 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
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John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Susan Goldsmith and
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John and Penelope Collins Wayne and Melinda Colquitt Edward J. and
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Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and
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Nan and Bill Conlin
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Donald W. Cook
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Mr. and Mrs. Herbert Couf
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Margaret Cudkowicz
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Jean Cunningham
Richard J. Cunningham
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Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Joyce Damschroder
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Mildred and William B. Darnton
Jane and Gawaine Dart
Stephen Darwall and
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Paul Dodd and Charlotte Dodd Elizabeth and Edward K. Doezema Jean Dolega
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Dance Studio Marilyn Finkbeiner Davia A. Finn C. Peter and Bev Fischer Gerald B. and Catherine L Fischer Pat and Dick Fischer Barbara and James Fitzgerald Linda and Thomas Fitzgerald Beth and Joe Fitzsimmons Morris and Debra Flaum Mitchell and Carol Fleischer Kathleen and Kurt Flosky George and Kathryn Foltz Jason I. Fox
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Mr. and Mrs. Charles C. Froning Philip And Renee Frost Joseph E. Fugere and
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James W. and Maria J. GoussefF Michael I. Gowing Britt-Marie Graham Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham
Advocates, continued
Maryanna and
Dr.WilliamH.Graves.III Isaac and Pamela Green Victoria Green and
Matthew Toschlog Deborah S. Greer G. Robinson and Ann Gregory Bill and Louise Gregory Martha I. Greiner Linda and Roger Grekin Mark and Susan Griffin Werner H. Grilk Mrs. Atlee Grillot Marshall J. and Ann C. Grimm Marguerite M. Gritenas Betty and Chuck Gross Laurie Gross
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Michael Marietta Jeff and LeAnn Guyton Jennifer Shikes Haines and
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Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Saratn and loan Harris Martin D. and Connie D. Harris Susan S. Harris Stephen Haskin and
Karen Soskin Elizabeth C. Hassinen Ruth Hastie
George and Lenore Hawkins Mr. and Mrs. Edward J. Hayes Anne Heacock Ken and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Heitler Sivana Heller
Paula Hencken and George Collins Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel Bruce and Joyce Herbert Ada Herbert
Stuart and Barbara Hilbert Herb and Dee Hiidebrandt Lorna and Mark Hiidebrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Frances Hoffman Robert and Claire Hogikyan Donna M. Hollowcll Dave and Susan Horvath George M. Houchens and
Caroline Richardson Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga C. Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Hubert and Helen Huebl Judc and Ray Huetteman Harry and Ruth Huff Mr. and Mrs. William Hufford Mr. and Mrs. Thomas J. Hughes Joanne Winklcman Hulcc Kenneth Hulsing Joyce M. Hunter Mr. and Mrs. Jacob Hurwitz
Bailie, Brenda and Jason Prouser
Diane C. Imredy Ann K. Irish Sid and Harriet Israel Judith G. Jackson Mr. and Mrs. Donald E. Jahncke Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith and Kay Jensen Lennart and Karin Johansson Elizabeth Judson Johnson Paul and Olga Johnson Dr. Marilyn S. Jones )ohn and Linda Jonides Tom and Marie Juster Mary B. and Douglas Kahn Allyn and Sherri Kantor Paul Kantor and Virginia
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Lucy A. Waskell Paul and Leah Kileny William and Betsy Kincaid Shira and Steve Klein Peter and Judith Kleinman Ruth and Thomas Knoll Patricia S. Knoy Rosalie and Ron Koenig Mr. and Mrs. Richard Krachenberg Jean and Dick Kraft Ron and Barbara Kramer Doris and Don Kraushaar Sara Kring William G. Kring Amy Sheon and Marvin Krislov Bert and Geraldine Kruse Danielle and George Kuper Dr. and Mrs. Richard A. Kutcipal William and Marie Kuykendall Christine A. LaBelle Magdalene Lampert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Pamela and Stephen Landau Janet Landsberg LaVonne Lang Patricia M. Lang Joan Larsen and Adam Pritchard Mr. and Mrs. Carl F. LaRuc Beth and George Lavoie Ruth Lawrence and An Naimark Chuck and Linda Leahy Cyril and Ruth Leder Dr. Peter J. Lee and Mrs. Clara
Hwang Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Richard and Barbara Lcitc Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Levine George and Linda Levy Deborah Lewis Tom and Judy Lewis Mark Lindley and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Rod and Robin Little Jackie K. Livcsay Larry and Shirley Loewenthal
Julie M. Loftin Jane Lombard Ronald Longhofer and
Norma McKenna Armando Lopez Rosas Bruce Loughry Donna and Paul Lowry Karen Ludema Pamela and Robert Ludolph Cynthia Lunan Elizabeth L. Lutton Fran Lyman Susan E. Macias Pamela J. MacKintosh Marilyn MacLean Walter Allen Maddox Hans and Jackie Maier Deborah Malamud and Neal
Karl D. Malcolm, M.D. Claire and Richard Malvin Ken Marblestone and
Janisse Nagel
Thomas E. and Melissa S. Mark Lee and Greg Marks Alice K. and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Martel James E. and Barbara Martin Vincent and Margot Massey Jim and Ann Mattson John M. Allen and
Edith A. Maynard Susan C. Guszynski and
Gregory F. Mazure LaRuth C. McAfee Richard and Florence McBrien Maurice H. McCall Thomas and Jackie McClain David G. McConnell Dr. and Mrs. James L. McGauley Cornelius and Suzanne McGinn Michael G. McGuire Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver ECO Physics, Inc. Bill and Ginny McKeachie Kevin D. McVeigh Nancy and Robert Meader Marilyn J. Meeker Allen and Marilyn Menlo Warren and Hilda Merchant Ingrid Merikoski Debbie and Bob Merion Hely Merle-Benner Russ and Brigette Merz Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Shirley and Bill Meyers Helen M. Michaels William and Joan Mikkelsen Carmen and Jack Miller John Mills
Bob and Carol Milstcin Dr. and Mrs. James B. Miner Olga A. Moir Dr. and Mrs.
William G. Mollcr, Jr. Bruce and Ann Moln Mr. Erivan R. Morales and Dr.
Scigo Nakao
Michael Moran and Shary Brown Arnold and Gail Morawa Jane and Kenneth Moriarty James and Sally Mueller Peeter and Judith Muhlberg Tom and Hedi Mulford Bcrnhard and Donna Muller Marci Mulligan and Katie
Mulligan Lora G. Myers Rosemarie Nagcl Penny H. Nasatir Edward C. Nelson
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lohn and Ann Nicklas
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Gene Nissen
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Donna Parmetee and
William Nolting Dr. Nicole Obregon Patricia O'Connor C. W. and Sally O'Dell Henry and Patricia O'Kray Cherie M. Olsen Joan and BUI Olsen Nels R. and Mary H. Olson J. L. Oncley
Robert and Elizabeth Oneal Kathleen 1. Opcrhall Elisa Ostafin and
Hossein Keshtkar Mr. and Mrs. James R. Packard Jenny Palmer Drs. Sujit and Uma Pandit William and Hedda Panzer Penny and Steve Papadopoulos Francois and Julie Lebel Michael P. Parin Donna D. Park Frank and Arlcne Pasley Brian P. Patchen Nancy K. Paul Robert and Arlene Paup Patricia D. Pawelski Edward J. Pawlak Elizabeth M. Payne Lisa A. Payne William A. Penner, Jr. Don and Giannine Perigo Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and
Ann Marie Petach Frank and Nelly Pctrock Douglas and Gwendolyn Phelps C. Anthony and Marie B. Phillips Mr. and Mrs. Frederick R. Pickard Nancy S. Pickus Robert and Mary Ann Pierce Daniel Piesko
Dr. and Mrs. James Pikulski Lana and Henry Pollack Mary Alice Power Robert and Mary Pratt John and Nancy Prince Ernst Pulgram Dr. G. Robin a Qualc Mr. and Mrs. Mitchell Radcliff Alex and Natasha Raikhel Jeanne Raislcr and
Jonathan Allen Conn Nancy L. Rajala Patricia Randlc and James Eng Alfred and Jacqueline Raphclson Dr. and Mrs. Robert Rapp Mr. and Mrs.
Robert H. Rasmusscn Gabriel M. Rebciz Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rchak Anne and Fred Remley Glenda Rcnwick Molly Resnik and John Martin John and Nancy Reynolds Alice Rhodes
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Richard K. Rohrcr Michael J. and Yclena M. Romm Borje and Nancy Rosaen Elizabeth A. Rose Richard Z. and Edie W. Rosenfeld Charles W. Ross Daria and Erhard Rothe Mrs. Doris E. Rowan Gary Ruby
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E. J. Sedlander
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George H. and Mary M. Sexton
Matthew Shapiro and
Susan Garetz
David and Elvera Shappirio Lorraine Sheppard Dr. and Mrs. Ivan Sherick Patrick and Carol Sherry Rev. William J. Sherzer Cynthia Shevel Jean and Thomas Shope Mary Alice Shulman David and Liz Sickels Douglas B. Siders, M.I1 and
Barbara Siders Dr. Bruce M. Siegan Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver
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Lieder, Op. 32
Johannes Brahms
Wie rafft' ich mich auf in der Nacht
(von Platen-Hallermiide)
Wie rafft'ich mich auf in der Nacht,
in der Nacht,
Und fiihlte mich furder gezogen, Die Gassen verliess ich vom Wachter
Durchwandelte sacht In der Nacht, in der Nacht, Das Tor mit dem gotischen Bogen.
Der Muhlbach rauschte durch felsigen
Ich lehnte mich iiber die Briicke, Tief unter mir nahm ich der Wogen in Acht, Die wallten so sacht, In der Nacht, in der Nacht, Doch wallte nicht eine zurucke.
Es drehte sich oben, unzahlig entfacht
Melodischer Wandel der Sterne,
Mit ihnen der Mond in beruhigter Pracht,
Sie funkelten sacht
In der Nacht, in der Nacht,
Durch tauschend entlegene Feme.
Ich blickte hinauf in der Nacht, in der Nacht,
Und blickte hinunter aufs neue:
O wehe, wie hast du die Tage verbracht,
Nun stille du sacht
In der Nacht, in der Nacht,
Im pochenden Herzen die Reue!
How I roused myself in the night
Oh, how I roused myself in the night,
in the night,
And felt myself drawn farther; I left the alleys, guarded by the watchmen,
And wandered through quietly, In the night, in the night, The gate with the gothic arch.
The millbrook rushed through the rocky
I leaned over the bridge, Observing far below me the waves, Which rolled so quietly, In the night, in the night, Yet never did one roll back.
Overhead wanders the infinite, flickering,
melodic traffic of the stars,
With them, the moon in calm splendor;
They gleam quietly
In the night, in the night,
At a deceptively remote distance.
I gaze up into the night, in the night,
And gaze down again anew:
Alas, how have you spent the day!
Now, softly you try to still,
In the night, in the night,
The remorse of your pounding heart!
Nicht mehr zu dir zu gehen
Nicht mehr zu dir zu gehen
Beschloss ich und beschwor ich,
Und gehe jeden Abend,
Denn jede Kraft und jeden Halt verlor ich.
Ich mochte nicht mehr leben, Mocht' augenblicks verderben, Und mochte doch auch leben Fur dich, mit dir, und nimmer, nimmer sterben.
Ach, rede, sprich ein Wort nur,
Ein einziges, ein klares;
Gib Leben oder Tod mir,
Nur dein Gefiihl enthulle mir, dein
Ich schleich' umher
(von Platen-Hallermude)
Ich schleich' umher, betriibt und stumm, Du fragst, o frage mich nicht, warum Das Herz erschiittert so manche Pein! Und konnt' ich je zu duster sein
Der Baum verdorrt, der Duft vergeht,
Die Blatter liegen so gelb im Beet,
Es stiirmt ein Schauer mit Macht herein,
Und konnt' ich je zu duster sein
Der Strom, der neben mir verrauschte
(von Platen-Hallermude)
Der Strom, der neben mir verrauschte,
wo ist er nun Der Vogel, dessen Lied ich lauschte,
wo ist er nun Wo ist die Rose, die die Freundin am
Herzen trug
To visit you no longer
To visit you no longer
Did I resolve and swear.
Yet I go to you each evening,
For all the strength and resolve have I lost.
I live to live no longer, I long to perish instantly And yet I also long to live For you, with you, and never, never die.
Ah, speak, say only one word,
A single word, a clear one;
Give me life or death,
Only reveal your feelings to me your
true feelings!
I creep about
I creep about, sad and mute. You ask, o ask me not, why My heart shakes with so much pain! Could I ever be too gloomy
The tree withers and dies, the breeze fades
The leaves lie so yellow in the yard, A shower storms with might toward us; Could I ever be too gloomy
The storm, which rolled past me
The storm, which rolled past me,
where is it now The bird to whose song I listened,
where is it now Where is the rose that my sweetheart wore
on her heart
Und jener Kuss, der mich berauschte,
wo ist er nun Und jener Mensch, der ich gewesen,
und den ich langst Mit einem andern ich vertauschte,
wo ist er nun
Wehe, so willst du mich wieder
(von Platen-Hallermude)
Wehe, so willst du mich wieder, Hemmende Fessel, umfangen Auf, und hinaus in die Luft! Strome der Seele Verlangen, Strom' es in brausende Lieder, Saugend atherischen Duft!
Strebe dem Wind nur entgegen Dass er die Wange dir kiihle, Grusse den Himmel mit Lust! Werden sich bange Gefuhle Im Unermesslichen regen Atme den Feind aus der Brust!
Du sprichst, dass ich mich tauschte
(von Platen-Hallermude)
Du sprichst, dass ich mich tauschte, Beschworst es hoch und hehr, Ich weiss ja doch, du liebtest, Allein du liebst nicht mehr!
Dein schones Auge brannte, Die Kiisse brannten sehr, Du liebtest mich, bekenn es, Allein du liebst nicht mehr!
Ich zahle nicht auf neue, Getreue Wiederkehr; Gesteh nur, dass du liebtest, Und liebe mich nicht mehr!
And the kiss that intoxicated me,
where is it now And the man that I once was,
whom long ago I exchanged for another self --
where is he now
Alas, so you would again
Alas, so you would again,
You hindering shackles, imprison me
Up and out into the air!
Out streams the longing of the soul,
flowing out in clamorous songs,
Inhaling ethereal fragrances!
Struggle against the wind,
That I might cool your cheeks,
Greet the heavens with joy!
Will timid emotions
Move you as you gaze upon the Infinite
Exhale the foe from out of your breast!
You say that I deluded myself
You say that I deluded myself You swear it imposingly; I know however, that you loved me, Only now you love me no more.
Your lovely eyes glowed bright, Your kisses burned greatly; You loved me, confess it, Only now you love me no more!
I count on nothing new, No return to faithfulness; Just admit that you did love, And now love me no more!
Bitteres zu sagen denkst du (Hafis)
Bitteres zu sagen denkst du;
Aber nun und nimmer krankst du,
Ob du noch so bose bist. Deine herben Redetaten Scheitern an korall'ner Klippe, Werden all zu reinen Gnaden, Denn sie miissen, um zu schaden, Schiffen iiber eine Lippe, Die die Siisse selber ist.
So stehn wir, ich und meine Weide
So stehn wir, ich und meine Weide, So leider miteinander beide.
Nie kann ich ihr was tun zu Liebe, Nie kann sie mir was tun zu Leide.
Sie kranket es, wenn ich die Stirn ihr Mit einem Diadem bekleide;
Ich danke selbst, wie fur ein Lachein Der Huld, fur ihre Zornbescheide.
Wie bist du, meine Konigin
Wie bist du, meine Konigin, Durch sanfte Giite wonnevoll! Du lachle nur, Lenzdufte wehn Durch mein Gemiite, wonnevoll!
Frisch aufgebluhter Rosen Glanz, Vergleich ich ihn dem deinigen Ach, iiber alles, was da bliiht, Ist deine BlCite wonnevoll!
You are thinking of something bitter to say
You are thinking of something bitter to say But neither now nor ever might you cause
Although you are so angry, Your sharp speech Founders on coral rocks, And become pure grace, For it must, in order to cause shame. Sail over a pair of lips Which is Sweetness itself.
So we stand, I and my mistress
So we stand, I and my mistress, So unfortunate with each other!
Never can I do anything to please her; Never can she do anything to pain me.
It hurts her feelings when upon her brow I adorn her with a diadem;
I myself am thankful, as much for a smile of favor, as for a furoius reply.
How blissful you are, my queen
How blissful you are, my queen, When you are gentle and good! Merely smile, and spring fragrance wafts Through my spirit blissfully!
The brightness of freshly blooming roses, Shall I compare it to yours Ah, soaring over all that blooms Is your bloom, blissful
Durch tote Wiisten wandle hin, Und griine Schatten breiten sich, Ob fiirchterliche Schwiile dort Ohn Ende brute, wonnevoll!
Lass mich vergehn in deinem Arm! Es ist ihm ja selbst der Tod, Ob auch die herbste Todesqual Die Brust durchwute, wonnevoll!
Wander through dead wastelands, And green shadows will be spreading, Even if fearful sultriness Broods there without end...blissfully!
Let me die in your arms! It is in them that Death itself, Even if the sharpest pain Rages in my blissful!
Tre Sonetti di Petrarca
Franz Liszt
Pace non trovo (Sonnet 47)
Pace non trovo, e non ho da far guerra, E terno, e spero, ed ardo, e son un ghiaccio: E volo sopra '1 cielo, e giaccio in terra; E nulla stringo, e tutto '1 mondo abbraccio.
Tal m'ha in pregion, che non m'apre,
n6 serra, Ne per suo mi ritien, ne scioglie il laccio,
E non m'uccide Amor, e non mi sferra; Ne mi vuol vivo, n6 mi trahe d'impaccio.
Veggio senz' occhi, e non ho lingua e grido;
E bramo di perir, e cheggio aita;
Ed ho in odio me stesso, ed amo altrui:
Pascomi di dolor; piangendo rido; Egualmente mi spiace morte e vita. In questo stato son, donna, per voi.
Three Petrarch Sonnets
I Find No Peace
I find no peace, yet may not fight; I fear and hope, I burn and freeze; I fly to heaven and lie on the ground I cling to no-one, yet would embrace the world.
I am imprisoned by the one who will
neither loose or bind me, Will neither have me for her own nor will
untie my bonds; Love does not kill me, nor free me from
my chains, Will not let me live, nor lift from me the
I see without eyes; I have no tongue with
which to cry;
I long for death, yet call for help; I hate myself, yet love others;
I dedicate myself to grief and, weeping, laugh; I hate both death and life in equal measure; To this condition, Lady, you have brought me.
Benedetto sia '1 giorno (Sonnet 104)
Benedetto sia '1 giorno, e '1 mese, e l'anno, E la stagione, e '1 tempo, e l'ora, e '1 punto
E '1 bel paese e '1 loco, ov'io fui guinto Da' duo begli occhi che legato m'hanno;
E benedetto il primo dolce affanno Ch'i' ebbi ad esser con Amor congiunto, E l'arco e la saette ond' i' fui punto,
E le piaghe, ch'infino al cor mi vanno.
Benedette le voci tante, ch'io Chiamando il nome di Laura ho sparte,
E i sospiri, e le lagrime, e '1 desio.
E benedette sian tutte le carte
Ov'io fama le acquisto, e il pensier mio,
Ch'e sol di lei, si ch'altra non v'ha parte.
Blessed Be the Day
Blessed be the day, the month, the year, The season, the weather, the hour, the
moment, The lovely country and the place where I
encountered Two lovely eyes which tied me to them.
And blessed be the first sweet pain Which I suffered through encountering love, And the bow and arrows by which I was
struck, And the wounds which pierced me o the
Blessed be the voice with which
I called out Laura's name, to make her
famous, And the sighs, the tears, the longing.
And blessed be all those pages
On which I wrote of her repute; and my
thoughts, Which are of her alone, in which none
other shares.
I' vidi in terra angel ici costumi (Sonnet 123)
I' vidi in terra angelici costumi,
E celesti bellezzo al mondo sole;
Tal che di rimembrar mi giova e dole;
Ch? quant'io miro par sogni, ombre e fumi.
E vidi lagrimar que' duo bel lumi, Ch'han fatto mille volte invidia al sole;
Ed udi" sospirando dir parole
Che farian gir i monti e stare i fiumi.
Amor! Senno! Valor, Pietate, e Doglia Facean piangendo un piii dolce concento D'ogni altro, che nel mondo udir si soglia.
Ed era '1 cielo all'armonia s'intento
Che non si vedea in ramo mover foglia, Tanta dolcezza avea pien l'aere e '1 vento.
I Saw Angels on Earth
I saw angels on earth
And heavenly beauties unique in the world,
So that the memory brings me joy and
sadness; Since what I see appears but shadows,
dreams and smoke.
I saw tears flow from those two lovely eyes Which put the sun to shame a thousand
And heard words spoken amid sighing Which move mountains, halt the flowing
Love! Wisdom! Courage, mercy, sorrow With tears did they create the sweetest music That one may ever hear upon the earth.
And heaven was enraptured by their
That neither leaf nor twig was seen to move, So filled with sweetness were the air and
Ballades de Franfois Villon
Claude Debussy
Ballade de Villon a s'Araye
Faulse beautd, qui tant me couste cher, Rude en effect, hypocrite doulceur, Amour dure, plus que fer, a mascher; Nommer que puis de ma deffa;on soeur. Charme felon, la mort d'ung povre cueur,
Orgueil muss?, qui gens met au mourir,
Yeubc sans pitiel Ne veult droict de rigueur Sans empirer, ung povre secourir
Mieulx m'eust valu avoir est6 crier Ailleurs secours, c'eust estd mon bonheur:
Rien ne m'eust sceu de ce fait arracher; Trotter m'en fault en fuyte a deshonneur. Haro, haro, le grand et le mineur! Et qu'est cecy mourray sans coup ferir,
Ou pitie peult, selon ceste teneur, Sans empirer, ung povre secourir.
Ung temps viendra, qui fera desseicher, Jaulnir, flestrir, vostre espanie fleur:
J'en risse lors, se tant peusse marcher, Mais las! nenny: ce seroit done foleur, Vieil je seray; vous, laide et sans couleur. Or, beuvez, fort, tant que ru peult courir. Ne donnez pas a tous ceste douleur Sans empirer, ung povre secourir.
Prince amoureux, des amans le greigneur, Vostre mal gre ne vouldroye encourir; Mais tout franc cueur doit, par Nostre
Seigneur, Sans empirer, ung povre secourir.
Ballad of Villon to his love
False beauty, who costs me so dear heartless, in truth, with feigned sweetness, hard love, harder than iron to outwear; I name you sister of my undoing. Treacherous charm, the death of a poor
heart, dissembled pride, which sends men to
their death,
pitiless eyes! From such cruelty will justice not rescue a poor fellow, without worsening
his lot
It had been better to have begged
for help elsewhere, it could have meant my
nothing can tear me from this fate; I must go on in my flight to hide my dishonor. Great and small are crying shame upon me! Now what is this Shall I die without
striking a blow
or will pity, given these circumstances, rescue a poor fellow, without worsening
his lot
A time will come, when dried up, yellowed, faded, your full-blown flower
shall be:
I will laugh then, if I can still walk, but alas! Nay: it would be folly, I shall be old; you, ugly and colorless. Now drink deep while the brook still runs. Do not give to all this pain, rescue a poor fellow, without worsening
his lot.
Amorous prince, greatest of lovers,
I do not wish to incur your displeasure;
but every honest heart must, for our good
Lord's sake, rescue a poor fellow, without worsening
his lot.
Ballade que Villon feit a la requeste de sa mere pour prier Nostre-Dame
Dame du ciel, regente terrienne, Emperiere des infernaulz palux, Recevez-moy, vostre humble chrestienne, Que comprinse soye entre vos esleuz, Ce non onstant qu'oncques reins ne valuz.
Les biens de vous, ma dame et ma maistresse, Sont trop plus grans que ne suys pecheresse, Sans lesquelz bien ame ne peult merir N'avoir les cieulx, je n'en suis menteresse. En ceste foy je vueil vivre et mourir.
A vostre Filz dictes que je suys sienne; De luy soyent mes pechez aboluz: Pardononnez-moy comme a l'Egyptienne,
Ou comme il feit au clerc Theophilus, Lequel par vous fut quitte et absoluz,
Combien qu'il eust au diable faict promesse. Preservez-moy que je n'accomplisse ce! Vierge portant sans rompure encourir Le sacrement qu'on celebre a la messe. En ceste foy je vueil vivre et mourir.
Femme je suis povrette et ancienne, Qui riens ne scay, oncques lettre ne leuz; Au moustier voy dont suis paroissienne, Paradis painct ou sont harpes et luz, Et ung enfer oil damnez sont bouluz: L'ung me faict paour, l'aultre joye et
La joye avoir fais-moy, haulte Deesse, A qui pecheurs doibvent tous recourir, Comblez de foy, sans faincte ne paresse. En ceste foy je vueil vivre et mourir.
Ballad made at the request of his Mother, for a prayer to Our Lady
Lady of Heaven, Regent of the earth, Empress of the infernal swamps, receive me, your humble Christian let me be numbered among your elect, although I am unworthy.
Your goodness, my Lady, and my Mistress, is far greater than my sinfulness, Without this goodness, no soul can merit Heaven nor gain it I do not speak falsely. In this faith would I live and die.
Say to your Son, I am His;
through Him let my sins be swept away:
may He forgive me as He forgave the
woman of Egypt, or the priest Thtophilus, who through your intercession was
acquitted and absolved. Although he had made a pact with the devil. Preserve me from ever doing such a thing! Virgin bearing without blemish the sacrament we celebrate at Mass. In this faith would I live and die.
I am a poor old woman,
Ignorant and unlettered;
In my parish church I see
a picture of Paradise with harps and lutes,
and Hell where the damned are boiled:
the one frightens me, the other gives me
joy and gladness. Give me the joy, exalted Goddess, to whom all sinners must resort, full of faith, without insincerity or sloth. In this faith would I live and die.
Ballade des femmes de Paris
Quoy qu'on tient belles langagieres Florentines, Veniciennes, assez pour estre messagieres, Et mesmement les anciennes; Mais, soient Lombardes, Romaines, Genevoises, a mes perils, Piemontoises, Savoysiennes, II n'est bon bee que de Paris,
De beau parler tiennent chayeres, Ce dit-on Napolitaines, Et que sont bonnes cacquetieres Allemandes et Bruciennes; Soeint Grecques, Egyptiennes, De Hongrie ou d'aultre pals, Espaignolles ou Castellannes, II n'est bon bee que de Paris.
Brettes, Suysses, n'y scavent guerres, Ne Gasconnes et Tholouzaines; Du Petit-Pont deux harangeres Les concluront, et les Lorraines
Anglesches ou Callaisiennes, (Ay-je beaucoup de lieux compris) Picardes, de Valenciennes... II n'est bon bee que de Paris.
Prince, aux dames parisiennes, De bien parler donnez le prix; Quoy qu'on die d'ltaliennes, II n'est bon bee que de Paris.
Ballad of the Women of Paris
Although they praise as fine talkers
Florentines, Venetians,
good enough to be go-betweens,
even the old women too;
yet be they from Lombardy, Rome,
Geneva, heaven help me,
Piedmont, Savoy,
for the gift of gab give me Paris.
Those who hold professorships in loquacity
are, they say, the Neopolitans,
and outstanding as chatterboxes
are the Germans and the Prussians,
yet be they Greeks, Egyptians,
from Hungary or other lands,
Spaniards or Castilians,
for the gift of gab give me Paris.
The Bretons, the Swiss, know nothing about it, neither do they in Gascony or Toulouse; Two jabberers from the Petit-Pont, would soon settle them; and also those
from Lorrraine England or Calais, (have I included enough places) Picardy, of Valenciennes... For the gift of gab, give me Paris.
Prince, to the Parisian ladies present the prize for good talking; whatever they may say of the Italians, for the gift of gab give me Paris.
Don Quichotte a Duldnee -
Trois Chansons
Maurice Ravel
Chanson romanesque
Si vous me disiez que la terre A tant tourner vous offensa, Je lui dpecherais Panca: Vous la verriez fixe et se taire.
Si vous me disiez que l'ennui Vous vient du ciel trop fleuri d'astres, D6chirant les divins cadastres, Je faucherais d'un coup la nuit.
Si vous me disiez que l'espace Ainsi vid? ne vous plait point, Chevalier dieu, la lance au poing. J'e'toilerais le vent qui passe.
Mais si vous disiez que mon sang Est plus a moi qu'a vous, ma Dame, Je blemirais dessous le blame Et je mourrais, vous b?nissant.
0 Dulcine'e.
Romanesque Song
If you told me the eternal turning
Of the world, offended you.
I would send Panza:
you would see it motionless and silent.
If you told me to be bored by the number of stars in the sky. I would tear the heavens apart, Erase the night in one swipe.
If you told me that the, now Empty space, doesn't please you. Chevalierdieu, with a lance at hand I would fill the passing wind with stars.
But, my Lady, if you told me that my blood is more mine, then yours. That reprimand would turn me pale And, blessing you, I would die.
Oh, Dulcine'e.
Chanson Ipique
Bon Saint Michel qui me donnez loisir De voir ma Dame et de l'entendre, Bon Saint Michel qui me
daignez choisir
Pour lui complaire et la ddfendre, Bon Saint Michel veuillez descendre Avec Saint Georges sur l'autel De la Madone au bleu mantel.
D'un rayon du ciel be'nissez ma lame Et son dgale en purete' Et son egale en pi?t? Comme en pudeur et chastet?: Ma Dame,
0 grands Saint Georges et Saint Michel
L'ange qui veille sur ma veille,
Ma douce Dame si pareille
A Vous, Madone au bleu mantel!
Chanson a boire
Foin du batard, illustre Dame, Qui pour me perdre a vos doux yeux Dit que l'amour et le vin vieux Mettent en deuil mon coeur, mon ame!
Je bois
A la joie!
La joie est le seul but
Oil je vais droit...lorsque j'ai bu!
Foin du jaloux, brune maitresse, Qui geint, qui pleure et fait serment D'etre toujours ce pale amant Qui met de l'eau dans son ivresse!
Je bois
A la joie!
La joie est le seul but
Ou je vais droit...lorsque j'ai bu!
Epic Song
Dear Saint Michael, who gives me the chance to see my lady and to hear her. Dear Saint Michael who gracefully
choose me
to please and defend her. Dear Saint Michael will you descend With Saint George to the altar Of the Virgin in the blue mantle.
Bless my sword, with a beam from heaven
And his equal in purity
And his equal in pity
As in modesty and chastity:
My Lady.
O Great Saint George and Saint Michael The angel who guards my watch My sweet Lady, so much like you Virgin in the blue mantle. Amen.
Drinking Song
Fig for the bastard, illustrious Lady Who, for losing me in your sweet eyes Tells me that love and old wine Put my heart ad soul in mourning.
I drink
To Pleasure!
Pleasure is the only goal,
To which I go straight...when I've drunk!
Fig for the jealous, dark-haired mistress who moans, who cries and swears Always being the pallid lover, Watering down his intoxication
I drink
To Pleasure!
Pleasure is the only goal,
To which I go straight...when I've drunk!
In alien meinen Taten: Cantata No. 97, BWV 97 (excerpt) Nichts ist es spat und fruhe, Versus II (Aria)
Nichts ist es spat und fruhe Urn alle sein Miihe, Mein Surgen ist umsonst. Er mags mit meinen Sachen Nach seinem Willen inachen, Ich stells in seine Gunst.
Nought is too late or early Despite my toil and labor, My worries are in vain. He may with all my dealings Dispose as he is willing, I give it to his care.
Mache dich, mein Geist, bereit: Cantata No. 115, BWV 115 (excerpt) Bete aber auch dabei, Versus IV (Aria: Molto Adagio)
Bete aber auch dabei Mitten in dem Wachen! Bitte bei der groBen Schuld Deinen Richter um Geduld, Soil er dich von Sunden frei Und gereinigt machen!
Pray though even now as well, Even in thy waking! Beg now in thy grievous guilt That thy Judge with thee forbear, That he may thee from sin set free And unspotted render.
Schweigt stille, plaudert nicht: Cantata No. 211, BWV 211
(The Coffee Cantata) Lieschen, Narrator, Schlendrian
Schweigt stille, plaudert nicht Und horet, was itzund geschicht: Da kommt Herr Schlendrian Mit seiner Tochter Liesgen her, Er brummt ja wie ein Zeidelbar; Hort selber, was sie ihm getan!
Violino III, Viola,
Hat man nicht mit seinen Kindern Hunderttausend Hudelei! Was ich immer alle Tage Meiner Tochter Liesgen sage, Gehet ohne Frucht vorbei.
Recitative Continuo
Du biises Kind, du loses Miidchen, Ach! wenn eriang ich meinen Zweck: Tu mir den Coffee weg!
Herr Vater, seid doch nicht so scharf! Wenn ich des Tages nicht dreimal Mein Schalchen Coffee trinken darf, So werd ich ja zu meiner Qual Wie ein verdorrtes Ziegenbratchen.
Flauto traverso,
Ei! wie schmeckt der Coffee suBe, Lieblicher als tausend Kiisse, Milder als Muskatenwein. Coffee, Coffee mufi ich haben, Und wenn jemand mich will laben, Ach, so schenkt mir Coffee ein!
Recitative Continuo
Wenn du mir nicht den Coffee lafit, So sollst du auf kein Hochzeitfest, Auch nicht spazierengehn.
Ach ja!
Nur lasset mir den Coffee da!
Da hab ich nun den kleinen Affen! Ich will dir keinen Fischbeinrock nach itzger Weite schaffen.
Ich kann mich leicht darzu verstehn.
Du sollst nicht an das Fenster treten Und keinen sehn voriibergehn!
Thou naughty child, thou wanton hussy,
Ah, when will I achieve my way
For me, off coffee lay!
Dear Father, do not be so strict! For if I may not thrice each day My little cup of coffee drink, I'll turn indeed to my distress Into a dried-up goat for roasting.
Ah! How sweet the coffee's taste is, Sweeter than a thousand kisses, Milder than sweet muscatel. Coffee, coffee, I must have it, And if someone wants to spoil me, Ah, my cup with coffee fill!
If thou for me not coffee quit, Thou shalt attend no wedding feast, Nor ever take a stroll.
But leave the coffee here for me!
Now I've got the little monkey! I will most sure a whalebone dress of latest girth refuse thee.
I can with ease learn this to bear.
Thou shalt not to the window venture
And no one see who walks beneath it!
Auch dieses; doch seid nur gebeten Und lasset mir den Coffee stehn!
Du sollst auch nicht von ineiner Hand Ein silbern oder goldnes Band Auf deine Haube kriegen!
Ja, ja! nur laBt mir mein Vergniigen!
Du loses Liesgen du,
So gibst du mir denn alles zu
Aria Continuo
Madchen, die von harten Sinnen, Sind nicht leichte zu gewinnen. Doch trifft man den rechten Ort, O! so kommt man gliicklich fort.
Nun folge, was dein Vater spricht! In allem, nur den Coffee nicht.
Wohlan! so muBt du dich bequemen, Auch niemals einen Mann zu nehmen.
Ach ja! Herr Vater, einen Mann! Ich schwore, daB es nicht geschicht.
Bis ich den Coffee lassen kann Nun! Coffee, bleib nur immer liegen! Herr Vater, hort, ich trinke keinen nicht.
So sollst du endlich einen kriegen!
This also; but heed my plea
And grant that my coffee remains with me!
Thou shalt as well not from my hand
A silver or a golden band
Upon thy bonnet gain thee!
Yes, yes! But leave to me my pleasure!
Thou wanton Liesgen thou,
Then dost thou yield me ev'rything
Maidens who are steely-hearted Are not easily persuaded. But just hit the proper spot, Oh, ye'll have a happy lot.
Now, follow what thy father bids!
In all things, only coffee not!
Go on, thou must then be contented
To lack as well a husband ever.
0 yes! Dear Father, please, a man!
1 swear it, it will never be.
Until from coffee I abstain
Well! Coffee, be forever conquered!
Dear Father, mark, I'll never drink a bit.
And thou in turn at last shalt get him.
Violino lII, Viola,
Heute noch,
Lieber Vater, tut es doch!
Ach, ein Mann!
Wahrlich, dieser steht mir an!
Wenn es sich doch balde fiigte, DaB ich endlich vor Coffee, Eh ich noch zu Bette geh, Einen wackern Liebsten kriegte!
Recitative Continuo
Nun geht und sucht der alte Schlendrian, Wie er vor seine Tochter Liesgen Bald einen Mann verschaffen kann; Doch, Liesgen streuet heimlich aus: Kein Freier komm mir in das Haus, Er hab es mir denn selbst versprochen Und ruck es auch der Ehestiftung ein, DaB mir erlaubet moge sein, Den Coffee, wenn ich will, zu kochen.
Flauto traverso, Violino lII, Viola, Continuo
Die Katze lafit das Mausen nicht,
Die Jungfern bleiben Coffeeschwestern.
Die Mutter liebt den Coffeebrauch, Die Grofimama trank solchen auch, Wer will nun auf die Tochter lastern!
O Z. Philip Ambrose, Translator
Today, still,
0 dear Father, do it, please! Ah, a man!
Truly, he would suit me fine!
If it only soon might happen That at last in coffee's stead, Ere I yet shall go to bed,
1 a gallant lover find me!
Old Mister Schlendrian now goes to seek How he for this his daughter Liesgen Soon may a husband here procure; But Liesgen secretly makes known: No suitor come into my house Unless he's made to me the promise And put it in the marriage contract, too, That I shall be allowed to brew, Whenever I desire, my coffee.
A cat its mousing never quits, The girls remain the coffee sisters.
Mother loves to use the brew, Grandma fondly drank it too, So who would now the daughters censure
A Meeting Between Generations
By Rachel Cooper
Forgiveness, a contemporary theatre work inspired by a classic Asian ghost opera about revenge and reconcil?iation seeks to give voice to the complex collective memories and emotions of a post-war generation of Koreans, Japanese and Chinese. The ghost story that inspired Forgiveness is The Punishment ofZi Du, a story about a warrior who, in search of glory and out of jealousy, betrays and kills his best friend. The ghost of the murdered man returns to haunt his murderer, and a cycle of revenge is set into motion. In Forgiveness the ghosts are a metaphor for the tur?bulent, intertwining histories of China, Korea and Japan. The younger genera?tions may not have directly experienced the horrors that have occurred between these nations, but are nonetheless bur?dened by the submerged rage inherent in an unresolved history. Forgiveness seeks to break through this passed-down, even unconscious hatred and suspicion and to find ways to acknowl?edge the brutal past in order to move more positively into this century. The work uses formal aesthetics inherent in Chinese, Korean and Japanese perfor?mance traditions, including ]ingju (Peking opera), Noh (classical Japanese masked theater) and traditional Korean dance, mixing them with contemporary forms of new music and hip-hop. In this sense, it is a meeting between gen?erations through historical time. ?
Historical Context
By Peter ]. Seybolt, Center for Asian Studies University of Vermont
At the turn of the millennium, the relations of the three great nations of East Asia China, Korea, and Japan -hang in the balance. Distrust and resent?ment, a legacy of decades of conflict in the nineteenth and twentieth centuries shadow prospects for a brighter era of peace and cooperation in the twenty-first. Today, the peoples of East Asia are increasingly engaged in trade and cul?tural exchange. They are also arming themselves against the prospect of future belligerence.
Wars in East Asia beginning with armed struggle between China and Japan in 1894-95 to determine the fate of Korea and culminating with eight years of bitter conflict during World War II claimed tens of millions of lives. Memories of the Nanjing mas?sacre, the sexual exploitation of "com?fort Women," criminal medical experi?mentation, slave labor, and other such atrocities committed more than half a century ago still affect relations today.
The barbarities of recent wars must not be forgotten. Like the holocaust in Europe, they must serve to remind us continually of human capacity for evil. But is retribution for crimes committed a path to redemption Does forgiveness offer a better prospect of a peaceful
future And who is to be forgiven Are succeeding generations responsible for the crimes of their forbears Are whole nations culpable or only the individuals who lead them
Those are questions that are not easily answered. But the history of the three East Asian countries offers a dis?tinctive prospect for future reconcilia?tion and cooperation. For over two-thousand years the peoples of China, Korea, and Japan lived mostly at peace with each other and developed similar institutions, values, and customs. Tools, techniques and material goods as well as ideas were shared by China, Korea, and Japan and adapted to local circum?stances to become distinctive parts of a common culture. Techniques of wet?land rice agriculture became the basis of prosperity and cultural development throughout East Asia; illiteracy was dis?pelled by the spread of Chinese writing; Buddhism became the principal reli?gion throughout the area; and Confucianism deeply influenced social and political institutions and eventually became the official state cult in all three countries. Indications of a shared cul?ture are readily apparent as well in the literature, art and architecture of the three countries. The structure and
appearance of public buildings, land?scape painting, Buddhist sculpture, ceramic ware, and poetry in the pre-modern era is immediately recognizable as variations on common themes and techniques.
During two millennia of cultural assimilation and adaptation there had been, to be sure, relatively brief periods of belligerence, such as the Mongol conquest of China and Korea in the twelfth century, and two subsequent abortive attempts to conquer Japan by Mongol-led Chinese and Korean troops. There was also an unsuccessful attempt in the sixteenth century by the great unifier of Japan, Toyotomi Hideyoshi, to conquer China and Korea. But these and other periods of conflict were exceptions to an amica?ble norm. Indeed, for almost 300 years between 1600 and the late nineteenth century there was undisturbed peace.
What changed that situation was Western imperialism. In the nineteenth century, Britain, the US and France, soon followed by Russia, Germany and other Western nations, forcefully "opened" a reluctant East Asia to Western trade and religious proselytiz?ing by imposing a series of "unequal treaties." The distinctive ways in which China, Japan, and Korea reacted to this Western challenge would dramatically affect their individual and collective futures. China, disdainful of the Western "barbarians" and confident of its own moral and cultural superiority, tried to buy off the imperialists with small con?cessions, and later, as its vulnerability became increasingly apparent, to acquire Western weapons and a few "self-strengthening" institutions. China's miscalculation of Western power and
determination would result in the total collapse of the Qing Dynasty in 1911, leaving the country in chaos and vulner?able to outside predators.
Japan's reaction was entirely differ?ent. After a brief period of internal tur?moil, the Japanese united as a nation determined to learn from the West tech?niques for "strengthening the army and enriching the country." Within a remarkably short time the Japanese had acquired the power to compete with the West on its own terms, whereupon they took the initiative to "open" Korea, the most conservative of the three East Asian nations, and join Western nations in imposing unequal treaties on it. In 1894-95 Japan defeated China in a war to determine control of Korea, and a decade later it decisively defeated Russia in a war over exploitation rights in Korea and Manchuria in northeastern China. By 1910 Japan had incorporated Korea into the growing Japanese empire, and in 1931 it invaded Manchuria, sepa?rating it from China and establishing a puppet government. Six years later it became embroiled in a war with China that would last for eight years, ending only with its unconditional surrender in 1945.
To put these events in historical context, it should be understood that Japan's aggression in Korea and China in the decades leading up to WW II was viewed by many Japanese economic and military strategists as their only hope for survival in a hostile, racist world. Japan, a country with virtually no natural resources, had become increasingly dependent economically on the good will of other nations, particularly the US, a country which had recently passed
immigration laws discriminating against Asians. Domination of Korea and China, both politically in disarray and militarily weak at the time, seemed to offer a way out. Undoubtedly some Japanese also believed their own propa?ganda that they were liberating the peoples of East Asia from the yoke of Western oppression to create a new era of collective prosperity though their actions soon belied the claim. Thus, they became entrapped in a brutal eight-year war that they could not win.
The costs of that conflict are stag?gering. Chinese historians estimate that more than twenty-million of their com?patriots died as a direct result of the war, and uncounted millions of others were injured. In the most notorious sin?gle incident of the war an estimated 150,000 to 350,000 Chinese men, women, and children were slaughtered in a frenzy of indiscriminate killing by Japanese troops when they entered Nanjing, then the capital of the Republic of China. The infamous Nanjing mas?sacre was a calculated attempt by local Japanese commanders to terrorize the Chinese into capitulating. The effect was the opposite. Chinese resistance stiff?ened, and memories of the atrocity are still fresh.
In Korea, too, resentment of Japanese policies and actions in the past still rankles. After Korea was annexed by Japan in 1910, the economy was restructured to serve Japanese interests, and attempts to achieve cultural assimi?lation eventually went so far as to pro?hibit use of the Korean language in schools, publications, and official docu?ments. The sexual exploitation of thou?sands of Korean "comfort women" dur-
ing WW II is only the most well-known of the many grievances harbored by Koreans against their neighbors to the east. Despite numerous acts of Korean resistance during the years of Japanese occupation, none could prevail against superior Japanese military might until the defeat of Japan in 1945.
From the perspective of the Japanese government in the early twen?tieth century, its attempts to dominate China and Korea were only commensu?rate with what Western powers had already been doing all over the world during the great age of imperialism. Indeed, when Japan seized power in Korea, it was with the tacit compliance of the US and Great Britain in exchange for Japan's recognition of their claims in the Philippines and India. It was a per?spective paid for with blood, including the blood of many Japanese. Victims of misguided militarism, millions of Japanese died during World War II, many of them civilians, including those incinerated in the nuclear holocaust in the waning days of the conflict.
Is forgiveness possible Or will the retributive ghosts of the past continue to haunt the collective memory of the peoples of East Asia Progress toward reconciliation since the end of World War II has taken a largely economic form, with trade and investment pro?viding a bond of mutual benefit. Perhaps such material considerations will open a path to peace and stability in East Asia but in the long run, cultur?al considerations, the deeply grounded common heritage developed over two millennia, offer a more solid founda?tion for true forgiveness and reconcilia?tion. ?

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