UMS Concert Program, Thursday Apr. 13 To 25: University Musical Society: 1999/2000 Winter - Thursday Apr. 13 To 25 --

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

UMS
niversity Musical Society
2000 WINTER SEASON
University Musical Society of the University of Michigan, Ann Arbor
We're proud to be the official ehicle and title sponsor for the Montreux Detroit Jazz Festival.
Our contributions help the Dance Theatre of Harlem train over t.ooo students each year.
We love restoring classics like the majestic Detroit Opera House.
University Musical Society
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
Cl LI VZetteiafolnllJb LAident
4 Letter from the Chair
5 Corporate LeadersFoundations
13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
,7 ) (c3eVai ilfoValtfeua V
19 Tickets
19 Group Tickets
19 Gift Certificates
21 UMS Card
21 http:www.ums.org
! V2B 11 UMS History
25 UMS Choral Union
26 . Auditoria & Burton Memorial Tower
J291 1 GMawiktefeaOO Season
35 Education & Audience Development
37 Dining Experiences
37 BRAVO!
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
45 Advisory Committ
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
staurant Program
Support
UMS
Leadership
.ETTER FROM THE PRESIDENT
Thank you for attending this UMS performance and for supporting the performing arts in our community. I hope I'll see you at some of the remain?ing UMS events this season. You'll find a list?ing beginning on page 29.
I want to introduce you to UMS' Administrative Director John Kennard, who is celebrating his tenth anniversary with UMS this season and his twenty-fourth overall with the University of Michigan. John over?sees UMS finances, human resources, and
other administrative matters. He has played a major role in bringing UMS to its stable financial situation and is highly regarded by his finan?cial colleagues both in and outside the University of Michigan for the quality of his work. A native of Ann Arbor, John is married and the father of five children. When he's not listening to recordings of his beloved Elvis, you'll find him hitting pars and birdies on the golf course.
Congratulations, John, for your outstanding contributions to UMS over the past decade.
We have had an exciting season thus far with memorable performances by Buena Vista Social Club, Les Arts Florissants, Sankai Juku, Paco de Lucia, Emerson String Quartet, and Laurie Anderson. Clearly one of the highlights of the fall was the performance of the Berlin Philharmonic Orchestra on October 20. Ann Arbor was the smallest city on the international tour the others were
Ken Fischer (I) and John Kennard
Moscow, Bonn, London, Paris, Washington, New York, Boston, and Chicago but we produced the largest single-evening audience exceeding 4,000. Over 1000 were students. U-M President Lee Bollinger and Jean Magnano Bollinger hosted a wonderful post-concert reception for Claudio Abbado, mem?bers of the orchestra, and UMS members. Orchestra members were high in their praise for the community of Ann Arbor, for the acoustics of Hill Auditorium, and for the enthusiastic response of the audience. They made it clear that they want to return!
Another highlight of the fall was the launching of Bravo! This 224-page book of recipes, legends, and lore from 120 years of UMS is the result of nearly three years of work by more than 100 UMS volunteers. We are very proud of this book and of the great response it is receiving all over the country. For information on obtaining a copy, see the notice on page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concert-going experience the best possi?ble. Look for me in the lobby. If we don't connect there, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
LETTER FROM THE CHAIR
It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence
not only 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.
Sincerely,
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port the arts in southeastern Michigan, especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merianti 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." J
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased and honored to support the University Musical Society and its great offering of gifts to the community."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Touche "Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, ? Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be partners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution to diversity in arts programming and your efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and
Chief Executive Officer, McKinley
Associates, Inc.
"McKinley Associates is proud
to support the University
Musical Society and the cultural
contribution it makes to
the community."
Michael E. Korybalski President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
Charles Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port of the University Musical Society, which plays such an important role in the richness of our community."
Joe E. O'Neal President, O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Peter B. Corr, Ph.D. President, Parke-Davis Pharmaceutical Research & Development; Corporate Vice President, Warner-Lambert Company "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: Excellence, Diversity and Quality. Parke-Davis is proud to support the University Musical Society for our community and our Parke-Davis colleagues."
Michael Staebler
Managing Partner, Pepper, Hamilton 6Scheetz "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
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfman Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February 4, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
Community Foundation for
Southeastern Michigan DaimlerChrysler
Corporation Fund The Ford Foundation The Heartland Arts Fund TheJ.F. Ervin Foundation KMD Foundation Knight Foundation Lila Wallace--Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
Benard L Maas
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Treasurer
Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr Robert F. DiRomualdo Deborah S. Herbert Alice Davis Irani
Gloria James Kerry Leo A. Legatski Earl Lewis Helen B. Love Alberto Nacif Jan Barney Newman Gilbert S. Omenn Joe E. O'Neal Randall Pittman Rossi Ray-Taylor
Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Marina v.N. Whitman Elizabeth Yhouse
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel
Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Manager
Box Office
Michael L. Gowing,
Manager
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
Susan D. Halloran, Assistant Director -Corporate Support
Lisa Michiko Murray, Advisory Liaison
Alison Pereida, Development Assistant
J. Thad Schork, Direct Mail, Gift Processor
Anne Griffin Sloan, Assistant Director -Individual Giving
L. Gwen Tessier, Administrative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen Wait,
Manager Susan Ratcliffe,
Coordinator
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Marketing
and Advertising
Coordinator Maria Mikheyenko,
Marketing Assistant
Production
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Manager Paul Jomantas, Usher
Supervisor Bruce Oshaben, Usher
Supervisor Ken Holmes, Assistant
Usher Supervisor Brian Roddy, Assistant
Usher Supervisor
Programming
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Karen Abrashkin Nadine Balbeisi Erika Banks Megan Besley Rebekah Camm
Patricia Cheng Mark Craig Patrick Elkins Mariela Flambury David Her Benjamin Huisman Jennifer Johnson Carolyn Kahl Laura Kiesler Jean Kim Un Jung Kim Fredline LeBrun Dawn Low Kathleen Meyer Amy Pierchala Beverly Schneider Cara Talaska
Interns
Helene Blatter Lindsay Calhoun Steven Dimos Bree Doody Aviva Gibbs Steven Jarvi Brooke McDaniel
President Emeritus
Gail W. Rector
ADVISORY COMMITTEE
Dody Viola, Chair Robert Morris,
Vice-Chair Sara Frank,
SecretaryTreasurer
Martha Ause Barbara Bach Lois Baru Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook luanita 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 Hartsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Ktoack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Mcrlanti Jeanne Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Elly Rose Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia J. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Dorecn 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
KatyRyan
Karen Schulte
Helen Siedel
loan Singer
Sue Sinta
Sandy Trosien
Sally Vandeven
Barbara Hertz Wallgren
Ft iniit Weinch
UMS
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
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
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.
TICKETS
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, Ml 48109-1011
on the University of Michigan campus
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat 10 a.m. to 1 p.m.
Order online at the UMS website:
http:www.ums.org
or
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance venue box offices open 90 minutes before each performance time.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including the Afro-Cuban All Stars, The Capitol Steps, Trinity Irish Dance Company, Kodo, and Alvin Ailey American Dance Theater.
This season UMS is offering a wide variety of events to please every taste, many at a frac?tion of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling UMS Group Sales at 734.763.3100.
GIFT CERTIFICATES
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry
Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than ninety events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Hanukkah, Christmas,
Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest. Call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and ser?vices through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
mm WWW.UMS.ORG --
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
? Program Notes and Artist Bios Your online source for performance programs and artist information.
? Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance.
Choral Union
Audition informa?tion and perfor?mance schedules for the UMS Choral Union.
UMS
Annals
UMS HISTORY
The goal of the University Musical Society (UMS) is to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership, coupled with a devoted community, has placed UMS in a league of internationally-recognized perform?ing arts presenters. Indeed, Musical America selected UMS as one of the five most influen?tial arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for its rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best traditional and contemporary work from the full spectrum of the performing arts -internationally renowned recitalists and
Musical America selected UMS as one of the five most influ?ential arts presenters in the United States in 1999.
orchestras, dance and chamber ensembles, jazz and world music performers, perfor?mance artists, opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over ninety performances and more than 175 educational events each season. UMS has flourished with the support of a generous community that gathers to enjoy world-class events in Hill and Rackham Auditoria, the
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Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining
with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union again appears in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include perfor?mances of Shostakovich's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Sytnphony 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 5f. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, call 734.763.8997 or e-mail edeb@umich.edu.
@@@@AUDITORIA & BURTON MEMORIAL TOWER
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Hill Auditonum
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
Rackham Auditorium
and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat the?atre for the 100th May Festival's Cabaret Ball. Now, with a pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and
an acoustical virtue to rival the world's great opera houses, the 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only three seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. Completed in 1935 and designed by Albert Kahn, the 10-story
tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
Power Center
Hill
Auditorium
4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
University Musical Society
of the University of Michigan 19992000 Winter Season
Event Program Book Thursday, April 13,2000 through Tuesday, April 25, 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.
Susanne Mentzer 3
Sharon Isbin
Thursday, April 13, 8:00pm Lydia Mendelssohn Theatre
Australian Chamber Orchestra 11
Friday, April 14, 8:00pm Rackham Auditorium
J. S. Bach's 23
St. Matthew Passion
Sunday, April 16,4:00pm Hill Auditorium
Frederica von Stade 39
Tuesday, April 25, 8:00pm Lydia Mendelssohn Theatre
UMS
and
Ronnie and Sheila
Cresswell
present
Mezzo-soprano
Sharon Isbin
Program
Thursday Evening, April 13, 2000 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Franz Schubert
Transcribed by
Sharon Isbin
Traditional
Arr. Seigfried Behrend
Revised by Sharon Isbin
Naomi Shemer Arr. Isbin
Joaquin Rodrigo
Three Lieder
Standchen
Heidenroslein
Nachtstiick
Ms. Mentzer, Ms. Isbin
II
Four Bergerettes (Eighteenth-century French Folksongs)
Jeunes Fillettes
Que ne suis-je la fougere!
L'amour s'envole
Maman, dites-moi
Ms. Mentzer, Ms. Isbin
III
Four Songs
Al Kol Eleh (Of Sting and Honey) Mahar (Tomorrow)
Yerushala'im shel zahav (Jerusalem of Gold) Meragelet (Spy Girl)
Ms. Isbin
IV
Aranjuez, ma pensee
Ms. Mentzer, Ms. Isbin
Traditional
Arr. Mdtyds Seiber
Four French Folksongs
Reveillez-vous
J'ai descendu
Le Rossignol
Marguerite, elle est malade
Ms. Mentzer, Ms. Isbin
INTERMISSION
John Duarte
Traditional
Arr. Carlos Barbosa-Lima
John Jacob Niles Transcribed by Isbin
Arr. Laurindo Almeida Arr. Barbosa-Lima Arr. Barbosa-Lima
VI
Appalachian Dreams, Op. 121
Fantasia: Katy cruel Shady grove -
The foggy, foggy dew Black is the color of my true love's hair Darling Cora Putney Hymn Finale: O'Brien's Jig Red-haired boy -
Planxty George Brabazon
Written for Sharon Isbin Commissioned with funds from the Augustine Foundation Ms. Isbin
VII
Five American Folksongs
Red Rosey Bush
Go 'way from my window
Black is the Color of My True Love's Hair The Nightingale Wayfaring Stranger
Ms. Mentzer, Ms. Isbin
The audience is politely asked to withhold applause until the end of each group of songs or musical work. Please do not applaud after the individual songs within each group.
Seventy-sixth Performance of the 121st Season
Fifth Annual Song Recital Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Ronnie and Sheila Cresswell for their generous support of the University Musical Society.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to George Shirley and the U-M School of Music for their involvement in this residency.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Ms. Mentzer appears by arrangement with IMG Artists.
Ms. Isbin appears by arrangement with Columbia Artists Management, Inc.
Ms. Isbin records for Teldec Classics, EMIVirgin Classics, Erato and Concord Records.
Visit Sharon Isbin on the Internet at www.sharonisbin.com.
Large print programs are available upon request.
Three Lieder
Franz Schubert
Born January 31, 1797 in Himmelpfortgrund
(now a part of Vienna) Died November 19, 1828 in Vienna
Transcribed by Sharon Isbin
The combination of a sensuous, multi-col?ored mezzo-soprano voice performing with a virtuoso guitarist is rarely encountered in concert halls or on record. Thus the part?nership of Susanne Mentzer and Sharon Isbin is something to be especially savored by vocal and guitar aficionados alike.
The guitar, which Schubert played him?self respectably, was essential to Vienna's musical life in the early nineteenth century. For years, lied enthusiasts could easily find an enormous variety of published guitar-accompanied material. The instrument was constantly utilized for Hausmusik, in which one can well imagine how superbly it served Schubert songs. Throughout a vast portion of Schubert's lieder output, the guitar's influence on the composer's piano parts cannot be overestimated. Not only were many Schubert lieder editions with guitar accompaniment published during his life?time; a few were actually published first for the guitar, before the piano versions even appeared.
Standchen (1828) can be found in the collection known today as Schwanengesang; Schubert authority John Reed describes how "the lover's passion swells up at the end in a phrase which echoes the concluding bars of the strophe, then declines to a whisper of desire...as purely sensuous a moment as can be found in all of Schubert." In Heidenroslein (1815), one of Schubert's more than sixty Goethe settings, the song's three strophes epitomize the utter simplicity and directness of expression that are this composer's own above all others. Durchkomponiert (through-
composed) rather than strophic, Nachtstiick (1819) is also keenly individual harmonically. The minstrel's rippling harp accompani?ment provides exquisite support for the melodic line's inexorable rise and fall. Equally moving is Schubert's depiction of the serene acceptance of death at the close.
IlV
Four Bergerettes (Eighteenth-century French Folksongs)
Traditional
Arranged by Seigfried Behrend
Revised by Sharon Isbin
Four French Folksongs
Traditional
Arranged by Matyas Seiber
Following the prevailing trend in French folksongs, those performed tonight are strophic in structure. They range through different situations also familiar in interna?tional folk music. When it comes to folk songs, a certain universality can be expected (take Que ne suis-je la fougere If I were a fern vs. the text that opens Red Rosey Bush). We have common themes here, whether mother counseling daughter in matters of love in Martian, dites-tnoi; the gathering of flowers as a symbol of fleeting youth in Jennes Fillettes; the nightingale as the messenger of the lovelorn in Le Rossignol. Rhythmic vigor and textual inci-siveness are equally crucial, in keeping with French music in general through the cen?turies. The second group of French folk?songs on tonight's program entitled Four French Folksongs was arranged by Matyas Seiber especially for Sir Peter Pears and Julian Bream.
Ill
Four Songs
Naomi Shemer
Born 1931 in Kibbutz Kinneret, Israel
Arranged by Isbin
Naomi Shemer, known as the "First Lady of Israeli Song," is her country's troubadour poet. Born on Kibbutz Kinneret, overlook?ing the shores of the Jordan, her songs embrace the beauty of the land. In 1967, her song Jerusalem of Gold {Yerushala'im shel zahav) was celebrated as a second national anthem, expressing the painful yearning for Jerusalem and joy in its reunification. Of Sting and Honey (Al Kol Eleh) became a national hymn symbolizing hope and grati?tude, Tomorrow (Mahar) represents the desire for peace and prosperity, and Spy Girl (Meragelet) praises the humorous escapades of a famous spy. Sharon Isbin's arrangement is made with the approval of the composer, and its world-premiere recording is featured on Sharon Isbin: Dreams of a World.
Program note by Sharon Isbin.
IV
Aranjuez, ma pensee
Joaquin Rodrigo
Born November 22, 1901 in Sagunto, Valencia
Died July 6, 1999 in Madrid
Aranjuez, ma pensee is Rodrigo's own arrange?ment of the "Adagio" theme from his famous Concierto de Aranjuez, with lyrics by his wife. He composed the melody of this work during the sleepless nights spent grieving over the stillborn birth of his first child and his wife's ensuing illness. He wrote it as he reminisced about their honeymoon in the majestic gar?dens of Aranjuez, the magnificent eighteenth-century site of kings and courtiers. It is both a love song and a song of painful yearning.
Guitarist Regino Sainz de la Maza premiered the complete concerto in 1940.
Program note by Sharon Isbin.
VI
Appalachian Dreams
John Duarte Born 1919
The renowned British guitar composer arranger John Duarte celebrated his eightieth birthday in October. Appalachian Dreams was written for Sharon Isbin and commis?sioned by funds kindly provided by Rose Augustine and the Augustine Foundation. The first recording of the work is on Sharon Isbin: Dreams of a World. The composer writes:
The Appalachian mountain range draws a near-vertical line down the eastern side of the US and, as it is about 1,500 miles long, it cuts through a wide range of cultures, and I had the benefit of a wide choice of material. Some of that which I used was unearthed from archives in West Virginia by Sharon herself, and the rest emerged from my own modest research. Many American folk tunes crossed the Atlantic in an earlier time: The foggy, foggy dew came from Southern England, with lyrics that were much less euphemized than those known in the US! The Irish immigrants brought their tunes with them, three of which constitute the final movement. Robin Kessinger's performances of O'Brien's Jig, Red-Haired Boy, and Planxty George Brabazon on his recording Don't Try This At Home inspired me to use these tunes. The composer of the latter was the blind Irish harpist Turlough Carolan (1670-1738), the only user of the term 'planxty' to designate a kind of lament (cf. complaint and the French complainte). The rest are indigenously American, span?ning the length of the Appalachians: from the northern end there is the Putney Hymn (from New England), which I chose to set
in the manner of a Bach chorale. The southern end is represented by Shady Grove and Black is the color, of the several versions of the latter that I came across, I chose the one (by John Jacob Niles) that seemed to scan the best. Of less defined location are Darling Cora, who appears from the lyrics to have been a pistol-packin' mama and is treated in that spirit and Katy Cruel, said to have been a camp fol?lower of the American Revolutionary Army, the 'irregularity' of which is reflected in the ever-changing time-signature of the tune!"
Program note by Sharon Isbin.
VII
Five American Folksongs
Traditional
Red Rosy Bush can be identified as a collec?tion of floating verses, that is, existing in several different settings. Go 'way from my window was written in our own century, albeit in effective folk style, by Kentucky-born balladeersong collector John Jacob Niles (1892-1980). The ravishing Black is the Color of My True Love's Hair is one of the best-known of the courting songs greatly popular in Southern Appalachia (parts of Alabama, Georgia, Virginia, North Carolina, Kentucky, Tennessee) over the past 300 years. There are also many versions of The Nightingale (also know as One Morning in May) as it has come down to singers in Southern Appalachia through English and Irish tradition. One can classify Wayfaring Stranger as a "white spiritual," frequently heard in southern Protestant churches, which have long incorporated folk ballads into the service.
Unless otherwise noted, program notes from Voice and Guitar: A Unique Intimacy by Roger Pines.
American mezzo-soprano Susanne Mentzer has become a familiar face in the world's most prestigious opera houses and festivals, specializing in the repertoire of Mozart, Berlioz, Massenet and Richard Strauss along with the bel canto repertoire of Rossini, Bellini and Donizetti. Ms. Mentzer is one of those rare performers with equal vocal and acting gifts. While her beauty lends extra presence to portrayals of classic fern me fatale and ingenue roles, her talent for characterization has made her in demand as a "travesti" mezzo. This versatile artist also enjoys a significant concert and recital career, with a particular interest in chamber music.
Ms. Mentzer's recent operatic engage?ments included the role of Giuletta in a production of Verdi's little-known second opera Un Giorno di Regno at London's Royal Opera and her acclaimed portrayal of L'enfant in a concert performance of Maurice Ravel's L'enfant et les sortileges with Pierre Boulez and The Cleveland Orchestra, both in Cleveland and at New York's Carnegie Hall. She was also seen last season as Cherubino, a role with which she has been much identified, in a new production of Mozart's Le nozze di Figaro, which will be televised on PBS this fall. Concert performances in the 1998-99 season consisted of Rossini's Stabat Mater with the San Francisco Symphony, Mozart's Mass in C Minor with Esa-Pekka Salonen and the Los Angeles Philharmonic in Los Angeles and New York, Berlioz's Les nuits d'ete with the Houston Symphony, conducted by Christoph Eschenbach, and Alban Berg's Seven Early Songs with the Orchestre National de France conducted by Hans Vonk. She also appeared with the Chamber Music Society of Lincoln Center, Tanglewood, Aspen Music Festival, Montreux Festival and Music from Angel Fire chamber music festival.
This season finds Ms. Mentzer in her first portrayal of Romeo in Bellini's Romeo
and Juliet-inspired opera Capuleti e I Montecchi at the Los Angeles Opera last October, and two engagements at the Metropolitan Opera: Mozart's he nozze di Figaro last December and Offenbach's Les Contes d'Hoffmann last February. She returned to Paris for a March concert with L'orchestre de Radio France, singing Ravel's Sheherazde with Leonard Slatkin. This month she sings her first Dido in Purcell's Dido and Aeneas with Music of the Baroque in Chicago and presents a concert performance of Norma in London at the Royal Opera House in May. Ms. Mentzer made her Lincoln Center recital debut in November at Alice Tully Hall on the Great Performers Series, appears in recital with guitarist Sharon Isbin in Ann Arbor and Atlanta this April, and presents a recital focused on the music of women composers at Ravinia in July.
Celebrating her tenth year at the Metropolitan Opera, Ms. Mentzer has previously appeared at the Met as Nicklausse in Les Contes d'Hoffmann, the Composer in Ariadne aufNaxos, Octavian in Der Rosenkavailer, Dorabella in a new produc?tion of Mozart's Cost fan tutte, both in a nationally-televised performance and in the Met's tour of Japan, Idamante in Idomeneo, and Rosina in Barbiere di Siviglia, as well as her frequent portayals of Cherubino.
Since 1992, Susanne Mentzer has orga-
nized the annual autumn Jubilate benefit featuring such stars of the opera world as Placido Domingo, Sylvia McNair, Samuel Ramey, William Sharp, Carol Vaness and others. The proceeds go to Bonaventure House, a Chicago residence for people living with AIDS. Born in Philadelphia and raised in Maryland and New Mexico, Ms. Mentzer studied at The Juilliard School, the Houston Opera Studio and privately with Norma Newton. She is the proud mother of an eleven-year-old son.
Tonight's recital marks Susanne Mentzer's fourth appearance under UMS auspices.
Acclaimed for her extraordinary lyricism, technique and versa?tility, Sharon Isbin has been hailed as the "pre-eminent guitarist of our time." Winner of the Toronto, Munich, and Madrid International Competitions, Guitar Player magazine's "Best Classical Guitarist" award, and a 1999 Grammy Award nomination, she has given sold-out performances through?out the world in the greatest halls including New York's Carnegie Hall and Avery Fisher Hall, Boston's Symphony Hall, Washington DCs Kennedy Center, Toronto's Ford Centre, London's Barbican Centre and Wigmore Hall, Amsterdam's Concertgebouw, Munich's Herkulessaal, and Madrid's Teatro Real. She has served as Artistic DirectorSoloist of festivals she created for Carnegie Hall and the Ordway Music Theatre (St. Paul), her own series at New York's 92nd Street Y, and the nationally acclaimed radio series Guitarjam. She has been profiled on the nationally-televised CBS Sunday Morning and in periodicals from People to Elle, as well as featured on the cover of more than twenty magazines.
Ms. Isbin's numerous recordings from Baroque, SpanishLatin and twentieth-cen?tury repertoire to crossover and jazz-fusion
Susanne Mentzer and Sharon Isbin
have received many awards, including "Critic's Choice Recording of the Year" in both Gramophone and CD Review, "Recording of the Month" in Stereo Review, and "Album of the Year" in Guitar Player. Her first release in an exclusive multi-record contract with Teldec Classics Journey to the Amazon with Brazilian percussionist Thiago de Mello and saxophonist Paul Winter -soared onto Billboard charts in both the US and the UK and received a 1999 Grammy Award nomination for "Best Classical Cross?over Album" making her the first guitarist ever to be nominated in this category. Her latest Teldec CD is Dreams of a World: Folk-inspired Music for Guitar released in November 1999. Other recent CDs include Wayfaring Stranger (Erato) with mezzo-soprano Susanne Mentzer, and Aaron Jay Kernis' Double Concerto (ArgoDecca) with violinist Cho-Liang Lin and the St. Paul Chamber Orchestra (SPCO). Her best-selling recordings for EMIVirgin Classics include American Landscapes, Nightshade Rounds, Love Songs & Lullabies (with soprano Benita Valente), Road to the SunLatin Romances, J. S. Bach Complete Lute Suites (her pioneering editions created in collaboration with Bach specialist Rosalyn Tureck), and Rodrigo: Concierto de Aranjuez (RodrigoVivaldi concerti) which Joaquin Rodrigo praised as "magnificent."
Acclaimed for expanding the guitar repertoire with some of the finest new works of the century, Ms. Isbin has commissioned and premiered more concerti than any other guitarist. American Landscapes (EMIVirgin Classics) with the SPCO conducted by Hugh Wolff is the first-ever recording of American guitar concerti and features works written for her by John Corigliano, Joseph Schwantner, and Lukas Foss. (It was launched in the space shuttle Atlantis and presented to Russian cosmonauts during a rendezvous with Mir.) Recent premieres include concerti by Aaron Jay Kernis and Tan Dun. In January 2000, she premiered a concerto by Christopher Rouse with Christoph Eschenbach and the NDR
Symphony followed by Andrew Litton and the Dallas Symphony. Among the many other composers who have written for her are Joan Tower, David Diamond, Ned Rorem and Leo Brouwer.
In the last two seasons, Ms. Isbin per?formed over 100 concerts in the US alone, including a twenty-five-city Guitar Summit tour with jazz greats Herb Ellis, Stanley Jordan, and the late Michael Hedges. Her 1999-2000 season includes concerts in New York City, Washington DC, Chicago, Atlanta, Dallas, Denver, Ann Arbor, Birmingham, Oklahoma City, Toronto, California, New Jersey, Minnesota, Germany, Italy and Portugal.
Author of the Classical Guitar Answer Book, Ms. Isbin is Director of the guitar depart?ments at the Aspen Music Festival and The Juilliard School (which she created in 1989).
Tonight's performance marks Sharon Isbin's second appearance under UMS auspices.
UMS
presents
Australian Chamber Orchestra
Richard To g n e t t i , DirectorLeader
Anne-Marie McDermott, Piano Jeff Segal, Trumpet
Program
Friday Evening, April 14, 2000 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Don Carlo Gesualdo Asciugate i begli occhi (Dry your beautiful eyes) Transcribed for Strings by Richard Tognetti
Brett Dean
Carlo (for Strings, Sampler and Tape)
Leos Jandiek Arr. for strings by Tognetti
String Quartet No. 1 in e minor
(The Kreutzer Sonata) Adagio-con moto Con moto
Con moto-vivo-andante Con moto
INTERMISSION
Sergei Prokofiev
Visions Fugitives, Op. 22
Lentamente
Andante
Allegretto
Animato
Molto giocoso
Con eleganza
Pitteresca
Commodo
Allegretto tranquillo
Radicolosamente
Con vivacita
Assai moderato
Allegretto
Feroce
Inquieto
Dolente
Poetico
Con una dolce lentezza
Lento irrealmente
McDermott
Combination of the piano original and arrangement for strings by Rudolf Barschai and Richard Tognetti
Dmitri Shostakovich
Concerto No. 1 in c minor for Piano, String Orchestra and Trumpet, Op. 35
Allegro moderato Lento Moderato Allegro con brio
McDermott, Segal
Seventy-seventh
Performance
of the 121st Season
Thirty-seventh annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible with a gift from the estate of William R. Kinney.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
The Australian Chamber Orchestra is represented by Herbert Barrett Management in North America and records exclusively for Sony Music.
Anne-Marie McDermott appears by arrangement with Herbert Barrett Management.
Large print programs are available upon request.
Asciugate i begli occhi
(Dry your beautiful eyes)
Don Carlo Gesualdo
Born c.l560 probably in Naples, Italy
Died September 8, 1613 in Naples, Italy
Transcribed for Strings by Richard Tognetti
"Nothing is better than music; when it takes us out of time, it has done more for us than we have the right to hope for."
-Nadia Boulanger, teacherconductor, 1887-1979
Asciugate i begli occhi,
Deh, cor amio, non piangete
Se lontano da voi gir mi vedete!
Ahi, che pianger debb'io maidero e solo
Che partendo da voi m'uccede il duolo
Dry your beautiful eyes, Ah, my husband beloved, weep not If you should see me go far from you Ah, I should cry forlorn and alone. For, in leaving you, sorrow will kill me
Carlo Gesualdo, Prince of Venosa and Count of Conza, was a northern Italian nobleman, and a composer of dark and daring vocal music. This madrigal is Number XIV from the Fifth Book of Madrigals, published in 1611. It is featured in Stravinsky's Monumentum pro Gesualdo, written in 1960 to mark the 400th anniversary of Gesualdo's birth.
With madrigals, the significance of the musical images is provided by conventional melodic, rhythmic and contrapuntal figures. The musical unity is controlled by a particu?lar mode it is written in and its conventional sequence of cadences. (Modal scale struc?ture was popular during the Medieval and Renaissance periods, prior to the later major or minor scales.) Gesualdo used chromati?cism extensively and as a standard device, resulting in deliberate tonal ambivalence and thereby increasing the representational powers of the madrigal.
Carlo (for Strings, Sampler and Tape)
Brett Dean
Born 1956 in Australia
Brett Dean's Carlo is an intense, atmospher?ic study of Gesualdo's life and music. Woven into the string orchestral texture are taped and sampled sounds the sounds of one of Gesualdo's most fascinating, tortured madrigals, Mow, lasso with The Ethiopian Philharmonic Chamber Choir. Immediately prior to Carlo on tonight's program, another one of Gesualdo's harmonically surprising madrigals, Asciugate i begli occhi (Dry your beautiful eyes), was performed. Mow, lasso has been described as "extremely shocking and disgusting" because it moves from one chord to another despite any relation, real or imaginary, between the progressions. A note from the composer:
Carlo was commissioned in 1997 by the Huntington Festival and is scored for fif?teen string players, sampler and pre?recorded tape. The title refers to Carlo Gesualdo, Prince of Venosa, esteemed composer of idiosyncratic and highly accomplished vocal music of the Mannerist style, and perpetrator of one of the most heinous and widely publicized criminal acts of the sixteenth century -the murder in October 1590 of his own wife Maria d'Avolons and her lover, Don Fabrizio Carafa, Duke of Andria.
Not surprisingly, this Carlo character has been regarded as a fairly notorious figure ever since. Historians to the present day still seem undecided as to the true merits of Gesualdo the composer, unable to separate the characteristics of his com?positions with their harmonic extremities, surprises and textural complexities from the infamy of Gesualdo the murderer.
There are, no doubt, numerous con?temporaries of his whose music would be just as worthy of the kind of attention now given to Gesualdo composers such as Marenzio and Luzzaschi who didn't fan the flame of fame by butchering their spouses. But I believe that with Carlo
Gesualdo one shouldn't try to separate his music from the life and times. They are intrinsically interrelated. The text of the later madrigals, thought to be written by Gesualdo himself, abound with references to love, death, guilt and self-pity. Combine this with the fact that I've always found Gesualdo's vocal works in any event to be one of music's great and most fascinating listening experiences, and you have the premise of my piece.
Carlo starts with Gesualdo.. .from a tape, one hears the opening chorale from Mow, lasso, one of his most famous compositions, taken from his Sixth Book of Madrigals. Following the tragically sinking chromatic line of this opening, a pre-recorded vocal collage unfolds, the various quotes from the madrigal initially linking harmonical?ly; then going their own way, sometimes brighter and faster, at other points slower and more solemn. Gradually the orchestra involved in this process, at first displacing the taped quotes from Mow, lasso with other Gesualdo motives, and eventually leading us to altogether more twentieth-century realms of sound. Occasionally the sampler of tape transports us momentarily back into the world of Gesualdo, only for the orchestra to embark on their own inter?pretation and re-working of this material.
Throughout this journey between these two different time-zones, Gesualdo's madrigals are eventually reduced to mere whisperings of his texts and nervous breathing sounds -growing in intensity to what may be seen as an orchestral echo of that fateful night in Naples on 26 October 1590.
This composition would not have been possible without the help of Marcus Creed and soloists from his RAIS Chamber Choir in Berlin, as well as Peter Gross, recording engineer at the Berlin Philharmonic. For their contribution towards the production of the tape and sampled vocal passages, my sincerest thanks.
Carlo is dedicated to Richard Tognetti and the Australian Chamber Orchestra.
Since its acclaimed first performance at the 1997 Huntington Festival in Mudgee, New South Wales, Carlo has received perfor-
mances by the London Sinfonietta under Markus Stenz in 1998 and by the Berlin Philharmonic Orchestra under Sir Simon Rattle in June 1999. Prior to the performances on this tour, the Australian Chamber Orchestra toured the work extensively around Australia and the Sydney Symphony Orchestra will perform it in November 2000.
Brett Dean has recently resigned his position as violist with the Berlin Philharmonic, returning to Australia with his family to concentrate fully on composing.
String Quartet No. 1 in e minor
(The Kreutzer Sonata)
LeoS Janacek
Born July 3, 1854 in Hukvaldy, Moravia
Died August 12, 1928 in Moravskd, Ostrava
Arranged for strings by Tognetti
"To the eye Janacek's music is shapeless, chaotic, incoherent and repetitive. To the ear, however, it is extraordinarily effective."
-Richard Gorer, historian
Leos Janacek was the fifth of nine children from a musical family. In addition to com?posing, he was active as a musical theoretician, a folk-music authority, critic, and essayist. (Most of his theoretical writings are ignored today, most often because they are difficult to understand, employing homemade and confusing terminology, and they reveal more about Janacek than the specific topic.) Musical studies took him to Prague, St. Petersburg, Leipzig and Vienna, but he lived most of his life in the former Czechoslovakia. Many of his accomplishments came later in his life; he was past age forty before his own, very personal style began to evolve and his first significant music was written. He was forty-nine-years old when he completed his opera Jenufa (1903), the earliest of his com?positions by which he is well known today. No composer of comparable stature accom-
plished so much late in life, and so little before.
Passionately emotional content, dramat?ic tension, use of folk melodies, tenderness, and a projection of intimate feelings charac?terize Janacek's compositions. His musical language is terse and he avoids a clear line of construction. So unique was his style of composition that no one has truly success?fully followed in his footsteps. Janacek was certainly the most original of the outstanding Czech composers in the early part of the twentieth century. He was a man blessed with eternal youth and the older he grew, the more prolific he became. Even in Prague apprecia?tion was long delayed and suitable recognition came to him only during the last ten years of his life. Although Janacek's musical lan?guage has its roots in the nineteenth century, his music often contrasts types of harmony (dissonance, consonance, chromaticism, whole-tone), with an instinctive treatment of tonality. In his later works, the use of key signatures becomes less formal.
His contributions to the chamber music genre are small, but impressive. String Quartet No. 1 was composed in a matter of days in the middle of a period of creative verve with the composition of opera (1919-1925). The second and only other quartet was written in 1928 and bears the name Intimate Letters. Both quartets reveal the conflict between an independent temperament and the proper?ties of tradition. Janacek's strongest creative impulse was often erotic, this first quartet a case in point; it was inspired by Tolstoy's tale of marital unhappiness and infidelity, 77ie Kreutzer Sonata. (The tortured wife throws herself at an unworthy lover and dies tragi?cally.) In Tolstoy's tale, the husband hears his wife and her lover playing Beethoven's Kreutzer Sonata. When the husband finds them together, he stabs her to death. Various performance directions, such as "shyly," "as if speaking," or "as in tears," suggest that the Quartet might be programmatic; it also sug?gests that Janacek's perspective on the story is more compassionate. The impassioned
mood of the Quartet reflects the frustration and suffering.
Though cast in the traditional four movements, the atypical structure avoids the customary sonata-form, scherzo or rondo movements. The elements of dancing vivac?ity and passionate song are active through?out the first movement. There are abrupt changes of timbre, color and mood. The opening theme is an excitable rising and falling figure, suggesting hopeless erotic pas?sion. The second movement begins with a related, high-spirited dance figure. Janacek scholar Jaroslav Vogel suggests that it refers to the vain seducer of Tolstoy's story. The threatening second theme, employing a sul pontkello tremolo (bowing close to the bridge of a stringed instrument, producing a thin, nasal and glassy sound), is contrasted by a lyrical third idea. It is characteristic for Janacek to juxtapose dissimilar elements rather than structuring connections. Janacek often placed his creative drive above the dic?tates of tradition.
The third movement is based on the interaction of a mournful tune in canon and in diminution (shortening the time value of the notes, increasing the number of notes to be played in the same time). The finale returns to the agonizing opening fig?ure from the first movement; the intensity heightens with such material as a rapid falling figure against a pizzicato accompani?ment marked "desperate."
Janacek's String Quartet No. 1 was first performed by the Czech Quartet in October 1924. According to the group's second vio?linist, composer Joseph Suk (1874-1935), Janacek intended the work as a moral protest against man's oppressive attitudes toward women.
Visions Fugitives, Op. 22
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, near
Ekaterinoslav, Russia Died March 5, 1953 in Moscow
Combination of the piano original and arrangement for strings by Rudolf Barschai and Richard Tognetti
"A stone that strikes the surface of the water sends out a widening circle of rip?ples, and then sinks down into the depths where it finally disappears. I have gone down into the deeper realms of music."
-Sergei Prokofiev, 1936
"While Stravinsky is much more tied to the Gods, Prokofiev is friendly with the Devils."
-Sergei Diaghilev
Prokofiev, a precocious child, showed remarkable musical talent at a young age. He came from an affluent and cultured fam?ily and began piano lessons with his mother before age five. His mother's devotion to music had a great influence on his early development. At age thirteen, Prokofiev was enrolled at the St. Petersburg Conservatory. His outstanding gift for music was contrast?ed with an abrasive personality and a lack of respect for teachers and other students. After the Russian revolution, which totally disrupted his life, Prokofiev went into self-imposed exile in New York and Paris. He spent many years abroad as a composer and as a pianist. He gained acceptance as a composer in Europe, but was less popular in the US. After a time he missed his home?land, felt strongly about returning, and although he had little or no interest in poli?tics, he was not unsympathetic to commu?nist ideas. Ironically, Prokofiev's life was greatly affected by political turmoil. Unlike Stravinsky, Koussevitsky, Nabokov and oth-
ers, Prokofiev decided to return to Stalin's Soviet Union after years of indecision and conflict. Prokofiev spent the last seventeen years of his life in the USSR. He was both stimulated and restricted by the cultural policies of the Stalin regime. Prokofiev's loy?alty no doubt stemmed from his blind love for his country and a lack of reality regard?ing the many changes since the revolution.
Prokofiev's prolonged search for a "new simplicity" in both language and form was realized in these pieces, Visions Fugitives. They are concise, late-Impressionist psycho?logical images with a solid blend of the less inflexible features of his earlier piano music and the greater structural and tonal clarity of his later music. The well-spaced writing is fluid and translucent, while the harmony is kept sparse. This anthology of twenty miniatures is varied and contrasting in mood amusing, poetic, grotesque, restless, picturesque, elegant, and ridiculous. Prokofiev's melodic gift persists as a source of intrigue. Visions Fugitives reflect a wealth of invention and poetry.
For the last eight years of his life, Prokofiev, suffering from ill-health and with one eye on mortality, dealt with rejections, disappointments, a reduced income and the deaths of close friends. He continued to work until the end: "I work everywhere, always, and I have no need for meditation or privacy." It troubled him that many of his works had not received performances and remained unpublished in the USSR, though offers from foreign publishers were declined. "I don't think it is acceptable that they should appear somewhere abroad and not here," Prokofiev admitted. Considering the governmental persecution he endured, this is another example of Prokofiev's ambiguous loyalty. Stalin and Prokofiev died a few hours apart on the same day, March 5, 1953. Stalin was seventy-three and Prokofiev was almost sixty-two.
Concerto No. 1 in c minor for Piano, String Orchestra and Trumpet, Op. 35
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg,
Russia Died August 9, 1975 in Moscow
Shostakovich was very much a child of the Russian revolution who had wanted his music to serve the socialist state. "I am a Soviet composer, and I see our epoch as something heroic...I consider that every artist who iso?lates himself from the world is doomed."
To facilitate the study of Shostakovich's enormous contribution to music history, his works are often broadly divided into three periods: early years (1920s-1930s), maturity (1930s-1960s) and the final years (1960s-1975). No creative period is autonomous and similarities and inconsistencies are of course characteristic. Each composition reflects Shostakovich's complex personality with simultaneous regard for tradition and inno?vation. It is indisputable that Shostakovich sought a music that fostered moral awareness.
Shostakovich's family, originally Polish, settled in Russia several generations before the composer's birth. He received his first piano lessons from his mother and in his mid-teens entered the Petrograd Conservatory. His graduation composition was his Symphony No. 1, marking the beginning of a prolific career. Shostakovich was part of the first generation of Russian composers edu?cated entirely under the Soviet system. He was truly absorbed by the system of his time (Lenin's famous decree: "art belongs to the people") a period during which Soviet leaders encouraged originality and experi?mentation in art and his music was affect?ed accordingly. Public policy would eventu?ally change and the art world was presented with a new aesthetic, "art works that glorify the state." There was pressure to avoid con-
flict with accepted national ideals by avoid?ing anything new or abstract. Shostakovich succeeded in maintaining his musical integrity regardless of the acceptance or rejection of his compositions.
Shostakovich was a progressive, eclectic composer with a respect for tradition and tonality. His liberal use of dissonance, atonality, and polytonality were a means of expression rather than an interest and asso?ciation with a formalized "modern" school of composition. His innate conservatism, coupled with the struggle for creative freedom and the Soviet ideas for regulating and supervising the goals and methods of com?posers, strongly influenced Shostakovich's compositional course. Depending on party hierarchy and cultural regimentation, his compositions were either favorably received, often with great success, or severely denounced in Soviet circles. The question of loyalty to his country and government was never an issue. An unassuming personality self-conscious, shy, nervous, and lacking in self-confidence Shostakovich was susceptible to political pressures and general criticisms. Though never sacrificing his artistic integrity, a cer?tain level of concession was necessary for survival and continued productivity. This was a source of great anguish throughout his life: "I've described many unpleasant and even tragic events, as well as several sinister and repulsive figures. My relations with them brought me much sorrow and suffering and I thought perhaps my experience in this regard could also be of some use to people younger than I. Perhaps their approval wouldn't have the horrible disillusionment that I had to face and would go through life better prepared, more hardened, than I was. And perhaps their lives would be free of the bitterness that has colored my life gray (Testimony: The Memoirs of Dmitri Shostakovich)"
Shostakovich dealt with two distinct stylistic paths. One was the establishment style, which he faced while studying with
Alexander Glazunov at the Leningrad Conservatory. On the other hand, the 1920s avant-garde artists were still connected with the Bolshevik regime. Stalin's repression was in the future and "modernism" offered Shostakovich exciting and appealing alter?natives. The tension between traditional form and explosive expression approval vs. dissension would continue throughout Shostakovich's career.
Concerto No. 1 for Piano, String Orchestra and Trumpet reflects neo-Classicism with strains of Romanticism characterized by a playful sensibility. Shostakovich quipped, "if the audience smiles or openly laughs at per?formances of my works, it gives me great satisfaction." Each of its four movements passes seamlessly into the next. It is quite a witty score, a quality not usually associated with Shostakovich.
Apparently Shostakovich grew disen?chanted with this concerto. The restrained, mild-mannered composer commented on a performance: "I would have preferred to hear any other work of mine rather than my
Piano Concerto, which I can't consider
one of my better pieces." Dmitri Shostakovich was shy and nervous by nature and he suffered with ill-health most of his life. As his health deteriorated, his musical imagination became increasingly absorbed with thoughts of death, culminating with his intensely tragic String Quartet No. 15.
Program notes O2000 by Lynne S. Mazza.
Richard Tognetti, a violinist with dazzling technique and a personality to match, studied at the Sydney Conservatorium of Music with Alice Waten and at the Berne Conservatory (where he was awarded the Tschumi prize in 1989) with Igor Ozim. He became the Artistic Director and Leader of the Australian Chamber Orchestra (ACO) in 1989. Since then, Mr. Tognetti's influence has given the orchestra new life, vitality, and spirit.
A highly versatile musician, Richard Tognetti has developed a keen sensibility for the performance of music on period, modern and electric instruments. His arrangement of works by Janacek, Szymanowski, Paganini, Ravel and Satie have helped to expand the chamber orchestra repertoire. In 1996, his original compositions and arrangements were featured in Penny Arcade's show Sissy Sings the Blues... which opened the Vienna Festival.
In conjunction with winemaker Bob Roberts, Mr. Tognetti produces and is the Artistic Director of the annual Huntington
Richard Tognetti and the Australian Chamber Orchestra
Festival held in the Huntington Winery in Medgee, a country town northwest of Sydney. The festival is highly renowned for its innovative approach to programming, presentation and choice of artists. Each year, the festival is sold-out before the artists and programs are announced.
Mr. Tognetti has directed the ACO and appeared as soloist on fifteen international tours in nineteen countries. Among the highlights of these tours were concerts for the Musikverein's International Chamber Orchestra Series, the BBC Proms at Royal Albert Hall, the Concertgebouw Summer Festival, numerous performances at Wigmore Hall, and the ACO's debut and return performances at Carnegie Hall and the Teatro Colon in Buenos Aires.
Mr. Tognetti has directed the ACO on six recordings for Sony Music. The first of these recordings won the Australian Record Industry Award for the "Best Classical Album" in 1992 and the following two were both nominated for the 1993 Award. In 1996 the ACO was awarded with its second Australian Record Industry Award (ARIA) for its recording of Peter Sculthorpe's Music for Strings, which further won both the ABC Classic FM "Record of the Year" and "Best Australian Recording" and the ABC Twenty-four Hour Listeners' Choice for "Best Australian Recording."
In addition to his association with the ACO, Richard Tognetti has performed as soloist with the Berne and Melbourne Symphony Orchestras. In 1997, his perfor?mances in Holland included the Brahms Double Concerto with cellist Pieter Wispelwey, under the direction of Franz Briiggen with the Dutch Radio Chamber Orchestra, and a performance at the Salzburg Festival of the Mendelssohn Octet with Stephen Isserlis.
Mr. Tognetti performs on a 1759 Guadagnini violin, using a combination of raw gut and steel strings. The violin was bought by the Commonwealth Bank of
Australia for its Fine Art collection and has been loaned to Mr. Tognetti on a semi-per?manent basis.
Tonight's performance marks Richard Tognetti's third appearance under UMS auspices.
Aluminous, boldly emotive pianist, Anne-Marie McDermott is widely celebrat?ed for her expressive perfor?mances on the world's music stages. Be it Mozart or Prokofiev, Schubert or Rachmaninov, critics and audiences regularly comment on her highly gratifying,
spontaneous, and deeply felt playing. Her March 1997 debut with the New York Philharmonic under Christian Thielemann (Mozart's Piano Concerto No. 9, K. 271) was a new artis?tic triumph, a mem?orable musical event
for the orchestra, conductor, and audience.
Ms. McDermott has had similar success in recent seasons as soloist with the sym?phonies of Dallas, St. Louis, Baltimore, Pittsburgh, Atlanta, Phoenix, Seattle, San Diego, New Mexico, Tucson, Rochester, Vermont, Columbus, Chattanooga, and North Carolina. Further orchestral appear?ances have been with Lincoln Center's Mostly Mozart Festival at Lincoln Center, Hans Graf conducting; the Hong Kong Philharmonic under conductor David Atherton; the Kennedy Center with Gerard Schwarz; the Brandenburg Ensemble at the Kennedy Center, Alexander Schnieder con?ducting; the Moscow Virtuosi and Vladimir Spivakov in performance at Boston's Symphony Hall and New York's Avery Fisher
Anne-Marie McDermott
Hall; and the New York Pops at Carnegie Hall. Her numerous recital engagements have included New York's 92nd Street Y and Alice Tully Hall, Lincoln Center's Next Generation Series, Washington DCs Kennedy Center, and San Francisco's Herbst Theatre. ,
Ms. McDermott's 1999-2000 season highlights include numerous solo recitals and orchestral appearances throughout the US. She is heard internationally at the Prague Autumn Festival and in Hong Kong under the baton of David Atherton.
Ms. McDermott's versatility enables her to bring to life music ranging from Baroque to contemporary composition. Most recent?ly, she has premiered works by Gunther Schuller and Tobias Picker.
A winner of the Young Concert Artists Auditions, Anne-Marie McDermott is also the winner of the Avery Fisher Career Development Award, the Andrew Wolf Memorial Chamber Music Award, the Joseph Kalichstein Piano Prize, the Paul A. Fish Memorial Prize, the Bruce Hungerford Memorial Prize, and the Mortimer Levitt Career Development Award for Women Artists.
Ms. McDermott began playing the piano at age five, and at the age of twelve performed the Mendelssohn Concerto in g minor with the National Orchestral Association at Carnegie Hall. She studied at the Manhattan School of Music as a scholar?ship student with Dalmo Carra, Constance Keene and John Browning; and participated in master classes with such noted artists as Leon Fleisher, Menahem Pressler, Misha Dichter, Abbey Simon, Rosalyn Tureck, Michael Tilson Thomas and Mstislav Rostropovich.
Tonight's performance marks Anne-Marie McDermott's debut under UMS auspices.
Jeff Segal, principal trumpet of the Tonhalle-Orchester, Zurich, was born in Wollongong, Australia. He received his musical education from Paul Goodchild and Daniel Mendelow in Sydney as well as from Dr. Edward Tarr at the Schola Cantorum Basiliensis in Basel. He was also Hakan Hardenberger's assistant at the Malmo Musikhogskolan in Sweden.
Because of the many different influ?ences in his musical background, Mr. Segal enjoys performing in many different styles and ensembles.
From 1991 through 1996, Jeff Segal was Principal Trumpet of the Orchestre de Chambre de Lausanne. During this period he performed often as a soloist with the orchestra and made many radio and televi?sion appearances. In 1994 he was a soloist at the Pablo Casals festival in Puerto Rico.
Since joining the Tonhalle-Orchester, Mr. Segal divides his time between playing with the orchestra and his solo career, which has taken him all over Europe as well as to China, Australia, America and Japan. He has performed with orchestras such as the Sydney Symphony Orchestra, L'orchestre National de Lyon and the Nieuw Sinfonietta Amsterdam, and with such conductors as David Zinman, Gennady Rozhdestvensky and Jesiis Lopez-Cobos.
In 2001, Mr. Segal will record a CD of classical trumpet concerti with the Tonhalle-Orchester conducted by David Zinman. He will also give the world premiere of a trum?pet concerto written for him by the Swiss composer Norbert Moret.
Tonight's performance marks Jeff Segal's debut under UMS auspices.
After the Australian Chamber Orchestra's European tour in April and May 1999, Geoff Brown's review in The Times (London) praised the Orchestra for "such supple phrasing and dynamics. Such a gorgeous tone, the texture of red velvet! Such freshness, passion, and commit?ment!" He wrote that, "frankly they made some of our own chamber bands sound like embalmers, waxing the music for its funer?al" and proclaimed the ACO to be "the best chamber orchestra on earth."
The Australian Chamber Orchestra (ACO), founded in 1975, is a national orchestra with an outstanding international reputation for artistic excellence. It is a colorful and vibrant ensemble comprised of some of the finest young musicians in Australia. The orchestra consists of a core group of seventeen strings and, depending on repertoire, is augmented by specialist players and soloists.
The orchestra's national program of activities is extensive and includes subscrip?tion series in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, and Wollongong. The ACO also plays in regional centers on a regular basis. This national profile is the direct result of the orchestra's commitment to the goal of providing Australia with a world-class chamber orchestra.
The Australian Chamber Orchestra is Australia's most traveled cultural organiza?tion, having toured frequently throughout Europe, the US, Asia, South America and the Pacific. It appears often at the summer season at the Concertgebouw in Amsterdam and at other major concert halls throughout the world, including Carnegie Hall, New York; The Royal Albert Hall, London; the Musikverein, Vienna; The Kennedy Center, Washington DC; and Teatro Colon, Buenos Aires.
In addition to international touring, the ACO has gained an international reputation
for its recordings. The ACO currently has seventeen CD releases. The most recent release, Scenes, on Sony Music, is a luscious recording of slow movements and is widely available. The first CD, released in July 1992, broke classical music sales records for an Australian ensemble and won the Australian Record Industry Award (ARIA) for the "Best Australian Classical Album" in 1992. In October 1996, the ACO was awarded its sec?ond ARIA for its recording of Peter Sculthorpe's Music for Strings on ABC Classics Under Capricorn label. This record?ing has further won both the ABC Classic FM "Record of the Year;" "Best Australian Recording" and the ABC Twenty-four Hour Listeners' Choice for "Best Australian Recording;" as well as winning the inaugural Soundscapes Australian Orchestral New Release award and Readers Choice award.
Over the years, the Australian Chamber Orchestra has worked with some of the world's most distinguished directors, includ?ing Frans Briiggen, Sir Charles Mackerras, Ton Koopman, Christopher Hogwood and Marc Minkowski, and has attracted many leading soloists such as Gidon Kremer, John Williams, Thomas Zehetmair, Anthony Halstead, Yvonne Kenny, Barry Tuckwell, Christian Lindberg, Hakan Hardenberger, Robert Levin, Lorraine Hunt and Pieter Wispelwey.
The ACO is now celebrating its twenty-fifth year with outstanding guest artists such as pianists Anne-Marie McDermott, Melvyn Tan, Stephen Hough and Wayne Marshall, cellists Pieter Wispelwey and Steven Isserlis, saxophonist Claude Delangle, trumpeter Ole Edvard Antonsen, conductor Anthony Halstead and The Estonian Philharmonic Chamber Choir.
Tonight's performance marks the Australian Chamber Orchestra's third appearance under UMS auspices. The ensemble made their UMS debut on October 6, 1995.
Australian Chamber Orchestra
Richard Tognetti, Director Anne-Marie McDermott, Piano Jeff Segal, Trumpet
Violin
Richard Tognetti Helena Rathbone Aiko Goto Alice Evans Lorna Cumming Elizabeth Jones Yi Wang Mark Ingwersen Jemima Littlemore Jacob Plooij
Viola
Caroline Henbest Sally Boud David Wicks
Cello
Emma-Jane Murphy Molly Kadarauch Leah Jennings
Bass
Maxime Bibeau
Orchestra Administration
Elizabeth Davies, General
Manager Brendon Hulcombe, Orchestra
Manager Meurig Bowen, Artistic
Administrator Trudy Johnston, Publicist
UMS and
Carl and Isabelle Brauer
present
J. S. Bach's {
St. Matthew Passion
UMS Choral Union Ann Arbor Symphony Orchestra Ann Arbor Youth Chorale Thomas Sheets, Conductor
Hans Peter Blochwitz, Tenor (Evangelist)
Russell Braun, Baritone (Jesus)
Maya Boog, Soprano
Susan Platts, Mezzo-soprano
Steven Tharp, Tenor
Clayton Brainerd, Bass-baritone
Edward Parmentier, Harpsichord, Organ
Katri Ervamaa, Cello
Catharina Meints, Viola da Gamba
Program Sunday Afternoon, April 16,2000 at 4:00
Hill Auditorium, Ann Arbor, Michigan
Seventy-eighth
Performance
of the 121st Season
J. S. Bach Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Carl and Isabelle Brauer for their generous support of the University Musical Society.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Mr. Blochwitz and Ms. Boog appear by arrangement with Matthew Sprizzo. Mr. Braun appears by arrangement with Columbia Artists Management, Inc.
Ms. Platts appears by arrangement with Mariedi Anders Artists Management, Inc.
Mr. Tharp and Mr. Brainerd appear by arrangement with Thea Dispeker, Inc. Artist Management.
Large print programs are available upon request.
St. Matthew Passion, BWV 244
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig, Germany
The St. Matthew Passion was first performed in Leipzig on Good Friday in 1727 and again in 1729. It was performed on at least two additional occasions during Bach's lifetime, in 1736 and some time during the 1740s. Bach revised the score for both of these later perfor?mances, with the most important change being the addition of the final chorus of Part I ("O Mensch bewein"), which he borrowed from the second version of his own St. John Passion. Subsequently, the St. Matthew Passion fell into oblivion, until revived in 1829 by the twenty-year-old Felix Mendelssohn; this occasion is generally thought to mark the beginning of the nine?teenth century's "Bach renaissance."
The St. Matthew Passion was introduced to the US by the Handel and Haydn Society of Boston, which offered excerpts in 1871, an almost complete performance in 1874, and, finally, on Good Friday 1879, the entire work.
Without cuts, the final version of Bach's St. Matthew Passion runs three hours in per?formance (Part I -about 75 minutes; Part II = about 100 minutes). Bach divided his per?forming forces into two choruses and two orchestras. Each chorus contains the usual soprano-alto-tenor-bass parts; in addition, a separate children's chorus is required in the opening movement and in "O Mensch bewein." Orchestra I consists of two flutes, two recorders (in Movement No. 25 only), oboe, oboe d'amore (a double reed instru?ment pitched a third lower than the regular oboe), two oboes da caccia (an ancestor of the modern English horn, pitched a fifth lower than the regular oboe), bassoon, strings (including viola da gamba, a Baroque bass viol), and organ. Orchestra II consists of two flutes, oboe, two oboes d'amore, strings (including viola da gambaj, and organ. The
main soloists are the Evangelist (tenor) and Jesus (baritone). In addition, there are arias for soprano, alto, tenor, and bass. The recita?tives contain dialog parts for Judas, Peter, Pilate, the High Priest, and two priests (all basses), First and Second Maids, Pilate's Wife (sopranos), First False Witness (alto) and Second False Witness (tenor).
Since the earliest days of Christianity, the story of the Crucifixion was chanted as part of the Holy Week liturgy. At first, the entire text was entrusted to a single reader; by the thirteenth century at the latest, the parts were distributed among several singers and the reading became more and more dramatized. The first polyphonic settings of the Passion date from the fifteenth century. After the Protestant Reformation, Passion settings using Martin Luther's Bible translation became popular in Germany, and eventually started to expand on the actual Gospel narrative by including newly-written commentaries set as arias and cho?ruses. Bach's Passions, therefore, stand on the shoulders of a long line of predecessors, drawing on, synthesizing, and transcending their accomplishments.
Bach's obituary, signed by his son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola, credited the composer with five Passion settings. One of these, the St. Luke Passion has since been shown not to be by Bach, and two works are lost (for one of these, the text and a few excerpts of the music survive). Of the remaining two, the St. John Passion, completed in 1724 and revised several times, is on a smaller scale and is often characterized by a more direct, dramatic approach. The St. Matthew Passion is longer, calls for one of the vastest ensem?bles ever employed by Bach, and although it certainly doesn't lack drama takes more time for meditative reflection and for ten?der, lyrical feelings.
The music of both passions falls into several distinct categories:
1 Biblical narrative: the words of the Gospel, sung to accompanied recitative by the Evangelist and the various other characters.
2 Turbas, or choruses on Biblical texts con?taining the responses of the crowd.
3 Arias preceded by accompanied recita?tives, using newly-written texts that contain commentaries on the narrative from an eighteenth-century Lutheran standpoint.
4 Chorales, or Lutheran church hymns inserted as moments of communal reflec?tion on the action.
The first two of these categories had been part of the Passion from the begin?ning; the second two were added in the German "oratorio Passions" of the seven?teenth and eighteenth centuries. As we shall see, Bach sometimes combines several of these categories in the same movement.
The St. Matthew Passion narrates the events of the last days of Jesus's life, from the Last Supper through the Crucifixion, in no fewer than sixty-eight musical numbers. (The earlier editions contained Nos. 1 to 78, but the most recent Barenreiter score, fol?lowed in this performance and in these notes, renumbered the movements by com?bining some of the shorter recitatives and choruses into larger units.) Instead of dis?cussing each number separately, I shall rather focus on the four categories defined above, illustrating the more general points by referring to individual movements in the Passion.
1 Biblical narrative. Bach's recitative differs from earlier Passion recitatives in the highly expressive nature of its melodic line. Far from being the mere imitation of speech that recitative is supposed to be according to most dictionaries, Bach's recitatives (while scrupulously following the prosody of his
text) place extreme demands on the singers. The recitatives have a wide vocal range, may be quite complex harmonically, and contain aria-like elements such as long melismas (groups of notes sung to the same syllable) to mark words of particular importance.
The Evangelist, whose part is by far the most extensive, is much more than a mere narrator: he actively participates in the action; the melodic inflections in his part offer a personal commentary on the events. His voice often rises to the highest register of the tenor voice, as a sign of intense emo?tion. At the moment where Peter becomes aware of his betrayal of Jesus, he reaches the highest note of his part ('B-natural') and bursts out in an expressive melistna to the words "weinete bitterlich" (wept bitterly) [No. 38]. After Jesus's death, the Evangelist announces the earthquake in a highly evoca?tive manner [No. 63): the highest and the lowest notes of his range appear within the same phrase above a textually descriptive bass line (thirty-second-note tremolos).
Bach devoted special attention to the part of Jesus. The recitatives are usually accompanied by the continuo group only (organ, cello and double bass); however, when Jesus sings, He is accompanied by all the strings, enveloping His voice with a halo made of sounds (this was another specifical?ly German Passion tradition). It is deeply symbolic that during Jesus' last words on the cross, "Eli, Eli, lama asabthani" (My God, My God, why hast thou forsaken me) the strings are silent.
The vocal style of Jesus is mostly simple and understated. A few particularly expres?sive moments stand out, such as the long arioso at the Last Supper: "Trinket alle daraus" (Drink ye all of it) [No. 11 ], the angry outburst "kh werde den Hirten schla-gen" (I will strike the shepherd) [No. 14] or the moment of despair "Meine Seek ist betrubt" (My soul is troubled) [No. 18].
2 The turbas of the St. Matthew Passion make ample use of two polyphonic tech?niques: imitation (successive entries on the same melodic material) and antiphony (two choruses contrasted or juxtaposed). In Part I, the turbas are relatively shorter; in Part II they increase in length, especially in the section where Jesus is being mocked by the people. One of the most unforgettable moments in the Passion, is, however, a cho?rus consisting of a single chord. When Pilate asks if he should save Jesus or Barabbas, the people exclaim "Barrabam!" on a diminished seventh chord (the greatest dissonance known in Bach's time). Shortly thereafter, in response to Pilate's question "What shall I do with Jesus" the chorus sings "Lass ihn kreuzigen" (Have him crucified) to a fugue based on an intensely chromatic theme, whose notes are intertwined in a shape that was perceived as symbolic of the cross [No. 45].
3 Arias preceded by accompanied recita?tives. The texts for the arias (usually preced?ed by accompanied recitatives) were written by Christian Friedrich Henrici (1700-1764), a Leipzig poet known under the pseudonym Picander. The soloists singing the arias rep?resent individual members of the congrega?tion (or allegorical characters such as the Daughter of Zion) reacting to, and identify?ing with, the events as they unfold. They are closely related to the preceding narrative. For example, the scene where Peter betrays Jesus is immediately followed by the excep?tionally beautiful alto aria "Erbarme dich" (Have mercy), with its famous violin solo [No. 39]. Similarly, the bass aria "Gebt mir meinen Jesum wieder" (Give me back my Jesus) [No. 42] amplifies the story of Judas's repentance in the preceding movement. In the narrative No. 63, Joseph of Arimathea asks Pilate for permission to bury Jesus, and in the last bass aria [No. 65], the soloist sings "Ich will Jesum selbst begraben" (I want to bury Jesus myself), as if he were Joseph in
person. There is a deeper theological signifi?cance in this, as the Lutheran religion emphasized the need for a strong personal empathy with the suffering of Christ.
All arias contain one or more instru?mental solo parts. These so-called obbligato parts have a structural role in announcing the themes and providing interludes between the vocal sections; however, they have a second and even more important role in setting the stage emotionally for the aria. The special atmosphere of the soprano aria "Aus Liebe" (For love) [No. 49] is largely due to the special instrumentation: flute and two oboes da caccia (the Baroque ancestors of the English horn). This aria deserves special mention for the absence of all bass instru?ments, which creates an ethereal timbre found nowhere else in the Passion.
4 Chorales. German audiences in Bach's time were intimately familiar with the words and the melodies of the chorales, but Bach's harmonizations were new (and quite star?tling at times). Two melodies recur with some frequency throughout the Passion (although with different words each time): one is "O Haupt voll Blut und Wunden" (O Head, all scarr'd and bleeding), the other "Herzliebster Jesu, was hast du verbrochen" (Ah, Jesus dear, what precept hast Thou bro?ken). Other melodies are used occasionally. Bach chose the melodies and verses carefully to match the dramatic situation at hand. For instance, the scene in which Jesus tells his disciples that one of them will betray him and they protest saying "Herr, bin ich's" (Lord, is it me) [No. 9] is immediately fol?lowed by the chorale "Ich bin's, ich sollte biissen" (It's me, I should repent it) [No. 10]. Similarly, at the moment of Jesus' death, the
This movement is a famous instance of Bach's musical symbolism, since the words "Hen, bin ich's" are heard exactly eleven times in the chorus. The twelfth disciple, lihl.u, will ask the same question in the recitative following the chorale No. 11).
chorus sings the chorale "Wenn ich einmal soil scheiden" (When comes my hour of parting) [No. 62].
Although most chorales are presented in four-part homophonic harmonizations, some are incorporated into more complex structures. No. 1 and No. 29, the movements opening and closing Part I, are monumental chorale fantasies. In No. 1, "Kommt ihr Tochter, helft mir klagen" (Come ye daugh?ters, share my wailing), the two choruses engage in a dialog, with Chorus II interject?ing the questions " Wen Wie Was" (Whom How What) etc., and Chorus I answering. Superimposed on this whole structure, which already involves some rather elaborate counterpoint, the children's chorus intones the chorale "O Lamm Gottes, unschuldig" (O Lamb of God unspotted). Later in the work, in the grandiose "O Mensch bewein dein Siinde gross" (O man, thy grievous sins bemoan) [No. 29], the sopranos' simple chorale melody soars high above the polyphonic lines of the orchestra and the three lower voices of the chorus. Another example of a more complex treat?ment of a chorale melody may be found in No. 19, where the chorale "Herzliebster Jesu," heard earlier in a simple version as No. 3, reappears embedded into a tenor recitative.
Some movements of the Passion fit none of the above categories. There are a few arias with chorus [Nos. 20,30,60] where the emotions of the individual are immediately set off against the responses of the commu?nity. This is also true of the duet with chorus "So ist mein Jesus nun gefangen" (Behold, my Jesus now is taken) [No. 27], but there are other circumstances that make this move?ment even more unusual. At this point in the action, Jesus is being held by the soldiers, and the soprano and the alto lament this misfortune. Three times, the chorus inter?jects a dramatic plea calling for His release. The first two times the winding melodic
lines of the two soloists are totally unaffected by these passionate calls; the third time, however, the soloists stop when the chorus sings "Lasst ihn, haltet, bindet nicht!" (Loose Him, halt ye, bind him not!) Soon thereafter, the tempo changes from "Andante" to "Vivace," and a magnificent fugato for dou?ble chorus unfolds on the words "Sind Blitze, sind Donner in Wolken verschwunden" (Have lightning and thunder disappeared in the clouds). The real meaning of this question becomes clear if we read the rest of the text: are there no forces in nature to avenge this calamity Bach used a powerful means to express the question mark in music. He left the musical phrase open and unresolved on the dominant, and let a long general rest fol?low, after which the orchestra enters in a new key, totally unrelated to the preceding music. The passage from here to the end of the movement is one of the most dramatic in the entire Passion.
Finally, a word about the final move?ment of the Passion, which is definitely also "one of a kind." It was a well-established tra?dition in Germany to conclude Passion set?tings with a chorus bidding Jesus "Rest well," and Bach ended both the St. John and the St. Matthew Passions that way. (In St. John, there is actually a simple closing chorale after the "Rest well" chorus.) The musical model of the final chorus in St. Matthew, however, is an instrumental one: the rhythmic pattern underlying the chorus is clearly that of the Sarabande, the slow dance familiar from so many of Bach's suites. In this magnificent double chorus, grandiose tutti gestures alternate with softer episodes involving only one of the two cho?ruses, or both in dialog. The final chord of the piece is preceded by a striking disso?nance (a so-called appoggiatura) that seems to sum up in a nutshell the tragedy we have been witnessing.
Program note by Peter Laki.
Thomas Sheets is an accom?plished conductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim.
Mr. Sheets is Music Director of the 160-voice UMS Choral Union, based in Ann Arbor under the aegis of the University Musical Society. Following his appointment to that position in 1993, the UMS Choral Union began performing on a regular basis with the Detroit Symphony Orchestra (DSO). In
the past six seasons, he has prepared the UMS Choral Union for sev?eral notable perfor?mances given by the DSO under the direc?tion of Neeme Jarvi, Jerzy Semkow and Gennady Rozhdestvensky. In January 1994, the
Choral Union collaborated with Maestro Jarvi and the DSO in the choir's first major commercial recording, Tchaikovsky's The Snow Maiden, released by Chandos Records. Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his men?tor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current international repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-celebrat?ed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four conti?nents. He was engaged in the same role in 1992 for that company's staging of Simon Boccanegra, where the chorus again received
singular plaudits.
In the 1996-97 season, Mr. Sheets col?laborated with the University of Michigan's Dance Company, conducting four perfor?mances of Orff's Carmina Burana in which dancers joined the established musical forces. During that season he made his debut with the Toledo Symphony in two performances of Bach's Mass in b minor, and also conducted performances of Handel's Messiah with the Ann Arbor Symphony Orchestra and the Perrysburg (OH) Symphony. During the 1997-98 season, Mr. Sheets conducted the UMS Choral Union and the Ann Arbor Symphony Orchestra in performances of Messiah and Mendelssohn's Elijah in Hill Auditorium. In the 1998-99 season, he conducted a performance of Bach's St. Matthew Passion at the historic Fort Street Presbyterian Church of Detroit.
Thomas Sheets is a graduate of Chapman University and CSU Fullerton, and received the degree Doctor of Musical Arts from the University of Southern California. He has held appointments as Director of Choral Activities at several colleges and universities, serving now in that capacity at Oakland Community College in Farmington, Michigan. Dr. Sheets is a frequent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
77ns afternoon's performance of St. Matthew Passion marks Thomas Sheets' seventeenth appearance under UMS auspices.
The German lyric tenor Hans Peter Blochwitz is among the most sought-after and record?ed singers on the international scene. With a repertoire that extends from the baroque to the contempo?rary, he regularly appears with the world's foremost conductors and orchestras, includ-
Thomas Sheets
ing the Chicago and NBK (Japan) Symphonies and Royal Concertgebouw, Dresden Staatskapelle and Leipzig Gewandaus Orchestras. His volu?minous discography includes collaborations with such conductors
as John Eliot Gardiner (Mozart's Requiem and Bach's Christmas Oratio), Kurt Masur (Mendelssohn's Paulus), Claudio Abbado (Mendelssohn's Lobgesang Symphony and Mozart's Mass in c minor), Sir Neville Marriner (Haydn's The Creation, Mozart's Davidde Penitente and Schuldigkeit des ersten Gebots), James Levine (Mozart's Cosifan tutte), Riccardo Chailly (Liszt's Faust Symphony), Nikolaus Hamoncourt (Mozart's Don Giovanni), Bernard Haitink (Beethoven's Fidelio), Sir Georg Solti (Bach's Mass in b minor), and Kent Nagano (Mahler's Das kla-gende Lied). In the summer of 1999 he made his debut at Lincoln Center's Mostly Mozart Festival, performing both Stravinsky's Pulcinella and the Mozart Requiem under the direction of Gerard Schwarz. He also gave concerts with Maestro Schwarz and Mostly Mozart in Japan.
Well-represented on the world's opera stages, Mr. Blochwitz' roles include the major Mozart lyric tenor roles in La clemen-za di Tito, Idomeneo, Don Giovanni, Cosifan tutte, The Abduction from the Seraglio and Die Zauberflote, many of which he has also recorded. In addition, he has been highly praised for his portrayals of Lenski in Tchaikovsky's Eugene Onegin, Nerone in Monteverdi's LTncoronazione di Poppea and Flamand in Richard Strauss' Capriccio; appearing with the Metropolitan, Frankfurt, San Francisco and San Diego Operas; Hamburg, Munich and Vienna State Operas; as well as at the Grand Theatre de Geneve, Opernhaus Zurich, Royal Opera House, Covent Garden, La Scala, Brussels' Theatre
de la Monnaie, Paris' Opera de la Bastille and Theatre Chatelet, and the Salzburg and Aix-en-Provence Festivals. Recent and upcoming operatic appearances include new productions of Henze's Derjunge Lord in Munich, Capriccio in Dresden, Monteverdi's Ritorno d'Ulisse in Patria in Athens and La clemenza di Tito at Glyndebourne.
An especially esteemed lieder interpreter, Hans Peter Blochwitz' invitations include the major recital series of Amsterdam, London, Paris, Aix-en-Provence, Frankfurt, Vienna, Lisbon, Brussels, New York, Pasadena, Cincinnati, San Francisco, La Jolla, Washington, DC and Miami. His lieder recordings to date include Schumann's Dichterliebe and Liederkreis (EMI), Schubert's Die schone Mullerin and Zernlinsky's Lieder (both on Deutsche Grammophon), Brahms' Die schone Magelone (Berlin Classics) and an all-Schubert disc on the Philips label. In Frankfurt he enjoyed tremendous success performing the world premiere of Hans Zender's controversial arrangement of Schubert's Winterreise, which he subsequently sang at several major European festivals and on a best-selling recording.
This afternoon's performance of St. Matthew Passion marks Hans Peter Blochwitz' debut under UMS auspices.
One of the most sought-after lyric baritones on the international stage today, Russell Braun performs regularly at the Metropolitan Opera, the Salzburg Festival, the Lyric Opera of Chicago, l'Opera de Paris and the Canadian Opera Company in Toronto.
This season is an exciting one for Mr. Braun. In October he sang the title role in a new production of Pelleas et Milisande in Hamburg, with Willy Decker conducting. November and December were busy with a recording project and performances of
Hans Peter Blochwitz
Handel's Messiah with the Canadian ensemble, Les Violons du Roy. The year culminated with Mr. Braun's appearance in the Millennium Opera Gala at Roy Thomson Hall in Toronto, broadcast live on national radio. A
favorite at l'Opera de Paris, Mr. Braun returned in January 2000 as Guglielmo in Cosi fan tutte. Appearances at the Metropolitan Opera as Figaro in Barbiere di Siviglia in March and April will be followed by a return to the Salzburg Summer Festival as Chorebe in a new production of Les Troyens, con?ducted by Sylvain Cambreling.
Next season opens with Russell Braun appearing as Nick Carraway in The Great Gatsby with the Lyric Opera of Chicago and then returning to the Hamburg State Opera to reprise the role of Pelleas. He will make his debut with the Nederlands Opera as the Count in Lc Nozze di Figaro in December, and his debut in the title role of Billy Budd at the Canadian Opera Company in April 2001. The season will round out with an appearance as Valentin in Gounod's Faust at the Opera de Paris.
Russell Braun also enjoys a very busy and successful recital and concert career. Upcoming appearances include the Schubertiade at the 92nd Street "Y" in New York; two performances as Christus in the St. Matthew Passion, with the Kitchener-Waterloo Symphony and this afternoon at the University of Michigan; and the l.uire Rcqiuem with the National Arts Centre Orchestra in Ottawa. Mr. Braun will also join tenor Michael Schade in a duo recital in Salzburg in June. The BraunSchade recital program has been critically acclaimed in London, New York, Toronto and Ottawa and will be a feature of their performance calendars over the next few years in Berlin, Hamburg, Toulouse, Metz, Geneva and Brussels.
Mr. Braun has made a number of record-
ings including Dido and Aeneas (Telarc) with the Boston Baroque Orchestra, and also with the renowned Canadian baroque orchestra, Tafelmusik (CBC Records). Also on the CBC Record label, Russell Braun has recorded Soiree Francaise, an award-winning CD with tenor Michael Schade featuring rare French repertoire, Le Souvenir, a collection of Canadian songs for parlor and stage, Shattered Night, Shivering Stars featuring the music of Canadian composer Alexina Louie and Liebeslieder-Folksongs with the Aldeburgh Connection. Other recordings include several for children, including Beethoven Lives Upstairs, Mozart and Magic Fantasy, and Daydreams and Lullabies on the Classical Kids Label.
Russell Braun made his Metropolitan Opera debut in 1995-1996 in Die Fledermaus, a season which also included his European debut as the Count in Le Nozze di Figaro with l'Opera de Monte Carlo and his debut with the Deutsche Oper Berlin in the same role. In 1996-1997, he debuted as Pelleas in the new Robert Wilson production for l'Opera de Paris opposite Susanne Mentzer and con?ducted by James Conlon, a role he reprised at the Salzburg Festival in the summer of 1997, performing opposite Dawn Upshaw.
Russell Braun often performs with his wife, pianist Carolyn Maule. He was born in Germany and makes his home near Toronto, Canada.
Tiiis afternoon's performance of St. Matthew Passion marks Russell Braun's debut under UMS auspices.
Swiss-born soprano and acclaimed Bach interpreter Maya Boog is delighted to be making her North American debut in this perfor?mance of J. S. Bach's St. Matthew Passion. Distinguishing her career are col?laborations with such eminent conductors as Marcus Creed, John Nelson, Thomas Hengelbrock, Arnold Oestmann, Helmut
Russell Braun
Miiller-Briihl, Asher Fisch, Helmut Rilling and Peter Schreier, in the major music capi?tals of Amsterdam, Berlin, Cologne, Stuttgart and Bamberg.
Equally esteemed in opera, Ms. Boog made her stage debut at Stadttheater Luzern (Switzerland) and has been a member of both the International Opera Studio in Zurich and Staatstheater in Darmstadt (Germany).
Her roles with these companies include Pamina in Die Zauberflote, Zerlina in Don Giovanni, Despina in Cost fan tutte, Blondchen in The Abduction from the Seraglio, Anna in The Merry Widow, Marzelline in
Fidelio and Sophie in Der Rosenkavalier. She has also been welcomed at the opera houses of Mannheim and Potsdam (Germany), St. Gallen (Switzerland) and recently performed in Gluck's Orfeo ed Euridice (as Euridice) and Paris ed Helena (as
Amor) in Drottningholm, Sweden. Other current and future highlights include Pamina at the Vienna Volksoper and Salzburg Landestheater, the latter under the direction of the renowned Harry Kupfer, and the leading role of Rimsky-Korsakov's Der gold-ene Hahn conducted by Vladimir Fedoseyev at the Bregenzer Festspiele (Switzerland). She has also offered recital and chamber programs in Bonn, Dresden, Kassel and Bad Kissingen (Germany) and Zurich. Her discography-to-date includes Scarlatti's pastoral cantatas and Bach's arrangement of Pergolesi's Stabat Mater.
Ms. Boog first studied voice in Luzern before moving on to the Musikhochschule in Cologne, Germany where she studied with Klesie Kelly. Awards and distinctions include several scholarships and a prize in the Francisco Vinas Competition in Barcelona.
This afternoon's performance of St. Matthew Passion marks Maya Boog's US debut as well as her debut appearance under UMS auspices.
Mezzo-soprano Susan Platts, born in Canada, studied with Elizabeth Taylor, Christa Ludwig and Alexandra Browning. She made her debut as the Principessa in Suor Angelica with Opera Nova in 1995, and has since appeared throughout North America and Europe in opera, oratorio, and recital. Her repertoire embraces major works by Bach, Handel, Brahms, Mahler and Elgar, as well as operatic roles such as Purcell's Dido and Mres. Trapes in The Beggar's Opera.
In addition to her study with Christa Ludwig, Platts has perfected her technique with world-renowned mezzo-sopranos Marilyn Home and Judith Forst. Her voice is well-suited to alto concert repertoire, and
some of her most fre?quent appearances are in such works as Brahms' Alto Rhapsody and Handel's Messiah. In 1997, she per?formed Wagner's Wesendonck Lieder with the Victoria Symphony, the success of which garnered an
invitation to return with Berlioz' Les nuits d'eti in 1998.
Platts has appeared with the principal orchestras of Cleveland, Pittsburgh and Vancouver, frequently in collaboration with conductor Helmuth Rilling. She most recently sang Bach Cantatas Nos. 10,174, 172, and 177 with Rilling at the Oregon Bach Festival, as well as Mendelssohn's Die erste Walpurgisnacht. Upcoming engage?ments include Bach's Mass in b minor with the Vancouver Symphony and the Los Angeles Camber Orchestra, and Derek
Susan Platts
Maya Boog
Holman's Invisible Reality with the Toronto Symphony.
This afternoon's performance of St. Matthew Passion marks Susan Plans' debut under UMS auspices.
Whether performing Bach or Rorem, Wagner or Donizetti, Steven Tharp convinces critics and audiences alike that the work at hand is his specialty. The Badisches Neueste Nachrichten called him "a lyrical tenor of refined vocal style," reviewing his lieder singing. In the New Yorker, Andrew Porter described his performance in Frank Martin's Le Vin Herbe as "ideal...strong, free, and forward in tone, verbally sure, lyrical in utterance," while in the same work, the Newark Star-Ledger noted, "he thrilled all with his blazing high register." Opera News has praised the "bel canto flexibility and sweetness" of his voice.
Mr. Tharp has appeared with most of the major US orchestras, including the Chicago Symphony (under Solti and Barenboim), the New York Philharmonic (Masur), and The Cleveland Orchestra (von Dohnanyi), as well as the Royal Philharmonic and Hong Kong Philharmonic, in repertory ranging from the great baroque and classical liturgi?cal masterpieces to contemporary works. Mr. Tharp's operatic career was bol?stered by early awards from the Metropolitan Opera National Council auditions and the San Francisco Opera Auditions. In the US, he has appeared with the New York City Opera, Glimmerglass Opera, Opera Pacific, the Minnesota Opera, and the companies of Dallas, Houston, Seattle, Memphis, Omaha, Salt Lake City and Miami. He has performed abroad with the Netherlands Opera, the Badisches Staatsoper in Karlsruhe, and in other theatres in Germany, Belgium and Hong Kong. His operatic repertoire of over
forty roles includes the major tenor parts of Mozart and Handel (including the American premiere of Partenope and the first modern revival of Scipione), Nemorino in L'Elisir d'Amore, Almaviva in Barbiere di Siviglia, David in Wagner's Die Meistersinger, the Steersman in Der Fliegende Hollander and Lysander in Britten's A Midsummer Night's Dream. Mr. Tharp has a special interest in lesser-known operas of the classical and early romantic era, and has taken roles in Haydn's L'Isola Disabitata and L'Infedelta Delusa, Gretry's Zemire etAzor, and Schubert's Alfonso und Estrella.
With Will Crutchfield as pianist, Mr. Tharp presented The World of Schubert's Songs and The World ofHeinrich Heine, both multi-evening lieder series, at New York's Metropolitan Museum of Art. He performed at gala recitals celebrating Schubert's 200th birthday at the 92nd Street Y and Weill Recital Hall, and has appeared in recital at the Newport Chamber Music Festival, the Carmel Bach Festival and Caramoor. He is a
trequent guest artist with the New York Festival of Song, most recently appeared in Ned Rorem's new full-evening song cycle Evidence of Things Not Seen. Mr. Tharp can be heard on Sir Georg Solti's Grammy award-winning recording of
Die Meistersinger for LondonDecca and excerpts of La Calisto, from the Glimmerglass Opera, released by BBC Music. His world-premiere recording of the complete songs of Edward MacDowell will be issued soon on the Marco Polo label.
This afternoon's performance of St. Matthew Passion marks Steven Tharp's debut under UMS auspices.
Steven Tharp
This season for bass-baritone Clayton Brainerd started as Wotan in Walkiire in a Ring Gala Series with the New Jersey Symphony, Madama Butterfly with Seiji Ozawa and the Boston Symphony, a Wagner Gala with Mississippi Opera, and Beethoven's Symphony No. 9 with the Yale University, Seattle and Alabama Symphony Orchestras. Other performances this season include The Damnation of Faust with Ozawa at the Saito Kinen Festival in Japan, Beethoven's Fidelio with the Monterey Symphony and Messiah with the NW Sinfonietta.
Next year's performances will include Wagner's Der Fliegende Hollander with the Knoxville Opera, Brahms' German Requiem with Abilene Symphony, Beethoven's Missa Solemnis with the Portland Maine Symphony and Stravinsky's Oedipus Rex with the Montreal Symphony. Other engagements will include Fidelio with the Vancouver Symphony and fourteen performances of Fidelio at the Opern-Air Festival in Gars, Austria.
This award-winning baritone was a finalist for both Metropolitan Opera and San Francisco Opera auditions. His imposing stage presence and magnificent voice have electrified audiences in Europe, Australia, and North and South America.
During the last few seasons, Mr. Brainerd replaced James Morris as Wotan in Die Walkiire at the Teatro Colon in Buenos Aires and joined the New Jersey Symphony in per?formances and the recording of Mussorgsky's The Dream of the Peasant Grishko. Mr. Brainerd also sang Kurwenal in a performance and recording of Tristan und Isolde at Carnegie Hall with the Opera Orchestra of New York and Scarpia in Tosca with Teatro Arriaga in Bilbao, Spain. He also made his debut with the New Zealand Symphony as Wotan in five concert performances of Wagner's Das Rheingold a role in which he won critical acclaim in June 1997 with the Arizona Opera Ring Cycle. Mr. Brainerd sang
Kurwenal in the third act from Wagner's Tristan und Isolde with the Minnesota Orchestra, Walkure excerpts with the Cincinnati Symphony, Golaud in Debussy's Pelleas et Melisande in Japan with the New
Japan Philharmonic under the baton of Gerard Schwarz and sang his first Jochanaan in Strauss' Salome with the Knoxville Opera.
Mr. Brainerd's versatility encompasses not only the Wagnerian repertoire of Wotan, The Wanderer, and Gunther in Der Ring and the title role in Der Fliegende Hollander, but also many roles in the Italian and French operatic repertoire, including Scarpia in Tosca, Amonasro in Aida, Golaud in Pelleas et Melisande and Mephistopheles in The Damnation of Faust.
This afternoon's performance of Si. Matthew Passion marks Clayton Brainerd's debut under UMS auspices.
Edward Parmentier, harpsi?chordist, 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 past fall, he played concerts 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
Edward Parmentier
Clayton Brainerd
(harpsichord, Early Music Ensemble) at the School of Music, University of Michigan. This past June, Mr. Parmentier recorded "Book I" of J.S. Bach's Well-tempered Clavier and has recently recorded "Book II" this past February. In addition to instrumental per?formance, Mr. Parmentier conducted the Windsor Symphony in November and will teach harpsichord workshops on Bach at the University of Michigan this summer.
This afternoon's performance of St. Matthew Passion marks Edward Parmentier's twelfth appearance under VMS auspices.
Cellist Katri Ervamaa is a doctoral student in performance at the University of Michigan School of Music. She has performed widely in the US, Europe and her native Finland. As a member of the Owla String Quartet, Katri has appeared in Bowdoin, Soundfest, Orlando, Haut Limousine, Norrtalje and Kuhmo Festivals and in recitals in Finland, the Netherlands, Germany, England, Sweden, the US and most recently in Taiwan and France. She is also a member of the University of Michigan Graduate String Quartet and the Brave New Works Ensemble Collective. Katri holds BM and MM degrees from Northern Illinois University. Her teachers include Erling Blondal Bengtsson, Marc Johnson, Kazimierz Michalik and Lauri Laitinen as well as the Vermeer, Borodin and Colorado String Quartets.
This afternoon's performance of St. Matthew Passion marks Katri Ervamaa's second appearance under UMS auspices.
Catharina Meints, one of this country's most prominent performers and teachers of historic stringed instruments, plays viola da gamba and baroque cello with the Oberlin Baroque Ensemble and the Oberlin Consort
of Viols. She was a founder of the Baroque Performance Institute at Oberlin and teach?es at Oberlin Conservatory and the Cleveland Institute of Music. She is a long?time member of the Cleveland Orchestra and during a recent sabbatical developed a one-woman program describing the real and imagined history of her 1680 Tielke viol. She has also performed at the Smithsonian Institution and has performed concerts in Vienna, Linz and Prague.
This afternoon's performance of St. Matthew Passion marks Catharina Meints' debut under UMS auspices.
The Ann Arbor Youth Chorale is a not-for-profit corporation that meets at Huron High School and currently has an enrollment of approximately 100 children in three choirs. Each choir rep?resents a different range of vocal ability and experience. Ranging in age from nine to six?teen, choir members come from many racial, economic and religious backgrounds. The Chorale is a music performance pro?gram that emphasizes musical skills and understanding through choral music experi?ence, purposing to provide children and youth with social, educational and skill development opportunities so that they may experience the personal worth of others. Through this process, the Chorale serves to expose children to the values and beliefs of other cultures and societies and promote its members' sense of self-worth, self-esteem, accomplishment and pride. The Chorale hopes to artistically enrich the lives of chil?dren, their families and their community.
The Ann Arbor Youth Chorale was founded by Ruth E. Datz, Richard Ingram and Donald Williams in 1987 to provide choral music experience for Ann Arbor area young people to compliment existing vocal programs.
This afternoon's performance of St. Matthew Passion marks the Ann Arbor Youth Chorale's debut appearance under UMS auspices.
Please refer to UMS Annals, page 25, for biographical information on the UMS Choral Union.
This afternoon's performance marks the UMS Choral Union's 379th appearance under UMS auspices. This afternoon also marks the first performance of]. S. Bach's St. Matthew Passion in the 121-year history of the University Musical Society.
The Ann Arbor Symphony Orchestra has been a part of Ann Arbor's cultural life for much of this century. It was founded in 1928 by Joseph Maddy (founder of Interlochen Music Camp) as a "mom and pop" orchestra of committed and talented amateur musicians. Since 1986, the A2SO has been a fully professional orchestra, first under the baton of Carl St. Clair, and for the past seven seasons, under the leadership of Samuel Wong. During this 1999-2000 season, five distinguished finalists who wish to succeed Maestro Wong have conducted the orchestra. A new Music Director from among these five will be named next week at our April 29th Season Finale concert to lead the A2SO into the new century.
During Maestro Wong's tenure, the stature of the orchestra has grown tremen?dously. In recent years, audiences have been treated to thrilling performances of four Mahler symphonies, Bruckner's Symphony No. 8, Prokofiev's Symphony No. 5, Stravinsky's Firebird Suite, the Four Last Songs by Richard Strauss and the "Prelude" and "Liebestod" from Wagner's Tristan und Isolde. New works by Ann Arbor composer Bright Sheng and Music Director finalist Victoria Bond have filled the hall of the his-
toric Michigan Theater. These orchestral powerhouses supplement the A2SO's already strong record with the standard classics from Beethoven, Brahms, Mozart (including a sold-out Requiem last season), Tchaikovsky and others.
Off-stage the A2SO has also grown in stature. In-school educational programs and Youth Concerts reach over 13,000 area stu?dents each year. The orchestra teams with humanities specialists from area public schools and the University of Michigan to create youth concert curricula. Pre-concert lectures and broadcasts of concerts on WGTE radio help audiences be life-long learners.
This season has delivered extraordinary musical experiences with six gifted conduc?tors and special guest artists, including world-renowned clarinet virtuoso Richard Stoltzman. The excellent musicians of the A2SO have brought to life a stunning variety of music, including several works in celebra?tion of the centennial of American composer Aaron Copland. Last month the A2SO gave the world premiere of a new work composed by Ann Arbor composer Gabriel Ian Gould. The new work, written for the A2SO and the University of Michigan Gamelan Ensemble, represents the State of Michigan's participa?tion in "Continental Harmony," a national musical celebration of the Millennium which has provided for the commission of a new musical work in each of the fifty states. Social and fundraising events such as Hearts for the Arts and lunches with the new Music Director invites the community to get to know the A2SO family better, and to join the orchestra as they enter a new millennium of "Music in the key of A2O."
This afternoon's performance of St. Matthew Passion marks the Ann Arbor Symphony Orchestra's thirty-second appearance under UMS auspices.
Auxiliary Soloists Disciple Choir
Pilate
Steven Henrikson
Ancilla I (First maid) Laura Christian
Ancilla II (Second maid) Rachelle Barcus Warren
Testis I (False witness) LeAnn Eriksson Guyton
Testis II (False witness) John W. Etsweiler III
Uxor Pilati (Wife of
Pilate) Judith A. Premin
Pontifex (High priest) Daniel Burns
Petrus (Peter) Jayme Stayer
Judas
James Van Bochove
Sopranos
Marie A. Davis Jeannine Scott Mary Wigton
Altos
Nancy Ham Nancy L. Murphy Kathleen Operhall
Tenors
Steven Fudge Phillip Rodgers James Van Bochove
Basses
Lawrence Lohr John Middlebrooks William Simpson
Ann Arbor Youth Chorale Richard Ingram, Co-FounderConductor
Ruth E. Datz, Co-FounderConductor Donald W. Williams, Co-FounderConductor
Matthew Anderson Kathryn Baker Maria Bartoleme Natalie Berry Elizabeth Botsford Katy Breider Yih-Chieh Chen Alyson Chun Adrienne Clark Paul Clark Monica Converse
Alena Fear Greg Fear Ashley Frez Mary Girsch Maureen Hanlon Alison Hauptshein Scot Hookham Jennifer Home Emily Karpiuk Jacquelyn Karwoski Katherine Rentes
Emily Landau Stephanie LaPorte Alexandra McCubbrey Kate Miller Ellen Morris Katrin Murdock Megan Polich Morgan Radelt Meredith Reynolds Julia Roth Kyle Smith
Alexandra Sondeen Alexandra Spears Colby Spencer Megan Swendris Katie Thompson Julia Tuckey Brent Ward Joe Wilkinson Adina Williams Danielle Young
Ann Arbor Symphony Orchestra Mary Steffek Blaske, Executive Director
Orchestra I
Violin I
Stephen B. Shipps,
concertmaster Adrienne Jacobs Stephen Miahky Bryan Johnston
Violin II
Barbara Sturgis-Everett John-Michael Muller Beth Kirton Denice Turck
Viola
Jubel Chen Zara Christopher Susan Schreiber
Cello
Alicia Rowe
Bass
Gregg Emerson Powell
Flute and Recorder
Penelope Fischer Tamara Thweatt
Oboe and English Horn
Lorelei Crawford Ellen Sudia
Oboe d'amore
Ellen Sudia
Bassoon
Dean Zimmerman
Orchestra II
Violin I
Sabine Bretschneider Judy Wayman Blank Linda Etter
Violin II
Susan French David Lamse Rissell Kotcher
Viola
Maria Sampen Emily Watkins Carolyn Tarzia
Cello
Damon Coleman Vivan Sunnarvik
Bass
Erin Zurbuchen
Flute
Roma Duncan Julie Stone
Oboe and English Horn
Lynne Flegg Judi Scramlin
UMS Choral Union
Thomas Sheets, Conductor Andrew Kuster, Assistant Conductor Jean Schneider-Claytor, Accompanist Edith Leavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Sopranos
Edith Leavis Bookstein Debra Joy Brabenec Ann Burke Susan F. Campbell Young S. Cho Laura Christian Cheryl D. Clarkson Marie A. Davis Kathy Neufeld Dunn Kathryn Elliott-Hudson Laurie Erickson Patricia Forsberg-Smith Keiko Goto Deirdre Hamilton Meredyth Jones Kyoung Kim Heidi Laura Mary Kay Lawless Carolyn Leyh Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Margaret Dearden
Petersen Sara Peth Julie Pierce Judith A. Premin Virginia Reese Mary A. Schieve Jeannine Scott Elizabeth Starr Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Margaret Warrick Mary Wigton Linda Kaye Woodman Kathleen Young Denise Rae Zellner
Altos
Mary Jo Baynes Wendy Bethune Paula Brostrom Laura Clausen Joan Cooper Deborah Dowson Jeanette Luton Faber Judy Fettman Marilyn Finkbeiner Carolyn Gillespie LeAnn Eriksson Guyton Hilary Haftel Mary Halbeisen Nancy Ham Lisa Hills Wilma Hoch Carol Hohnke Kerith Lee Jean Leverich Cynthia Lunan Beth McNally Carol Milstein Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Kathleen Operhall Lynn Powell Carren Sandall Cindy Shindledecker Beverly N. Slater Cynthia Sorensen Gayle Stevens Elizabeth Suing Cheryl Utiger Katherine Verdery Sandra K. Wiley
Tenors
Fred L. Bookstein Fr. Timothy J. Dombrowski Philip Enns Stephen Erickson John W. Etsweiler III Steve Fudge Albert P. Girod Jr Roy Glover Arthur Gulick Robert Hamel Steven J. Hansen Stephen Heath Knut Rosenkrands Hill Derek Jackson Douglas Keasal Robert Klaffke Mike Needham Sam O'Connor-Divelbiss Steve Pierce Phillip Rodgers Matthew Rush Adam Schwarze Thomas Sheffer Scott Silveira Elizabeth Sklar Daniel Sonntag James Van Bochove
Basses
Nath Anderson Peter Bergin Harry Bovven Daniel Burns Kee Man Chang George Dentel Robert Edwards Don Faber Philip Gorman David Hoffman Charles T. Hudson Michael Khoury Matthew Laura Mark Lindley George Lindquist Rod Little Lawrence Lohr Charles Lovelace Joseph D. McCadden John Middlebrooks Gerald Miller Michael Pratt William Premin Sheldon Sandweiss Curt Scott Michael Semaan John T. Sepp William Simpson Rodney Smith Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Jack L. Tocco Terril O. Tompkins
UMS and
National City Bank
present
Fred erica von Stade
Mezzo-Soprano Martin Katz, Piano
Program
Tuesday Evening, April 25, 2000 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Gabriel Faure
Les roses d'Ispahan
Prison
Mandoline
Clair de lune
Le fee aux chansons
Robert Schumann
II
Frauenliebe und -leben, Op. 42
Seit ich ihn gesehen
Er, der Herrlichste von alien
Ich kann's nicht fassen, nicht glauben
Du Ring an meinem Finger
Helft mir, ihr Schwestern
SiiGer Freund, du blickest
An meinem Herzen, an meiner Brust
Nun hast du mir den ersten Schmerz getan
INTERMISSION
Claude Debussy
III
Chansons de Bilitis
La flute de Pan
La chevelure
Le tombeau des naiades
IV
Ned Rorem I Am Rose
Charles Ives Memories, No. 45
A. Very Pleasant
B. Rather Sad
Richard Hundley Sweet Suffolk Owl
Leonard Bernstein Greeting, from Arias and Barcarolles
Virgil Thomson St. Catherine of Sienna
Lee Hoiby The Serpent
Traditional The Little Horses
arr. Aaron Copland
Thomas Pasatieri Vocal modesty
John Musto Litany
William Bolcom Amor
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.
Eightieth
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.
This performance is sponsored by National City Bank.
Special thanks to Phillip Duryea of National City Bank for his generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE.
Special thanks to Richard LeSueur for serving as this evening's Pre-Performance Educational Presentation speaker.
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 and John Ozga of Fine Flowers, Ann Arbor.
Frederica von Stade appears by arrangement with Columbia Artists Management Inc.
Frederica von Stade records for CBS Masterworks, Deutsche Grammophon, Philips Classics, LondonDecca, EMIAngel, Erato, and BMG Classics.
Large print programs are available upon request.
If there is a common thread throughout tonight's program, it is that all thirteen com?posers particularly excel at song-writing. Yes, most of these gentlemen have written in many other genres, but it is in their songs that the secrets of their styles are to be found and most easily appreciated.
Faure may not be considered the Father of the French song Berlioz had already claimed that title but he certainly deserves our acknowledgement as indisputable master of this genre. Like his German colleague, Robert Schumann, Faure concentrated on songs and smaller works for piano; this avoidance of the orchestra and the theatre was to be a life-long preoccupation for both composers.
If we consider the ninety years of Faures life and imagine what he heard, we can better appreciate his legacy. When he was born, Brahms had not written a note, and the ink was still wet on many a score of Berlioz; in 1924 he had lived long enough to hear the first works of Messaien as well as the new, amazing world of Berg's Wozzeck. But even more striking is how this evolution of music did not affect his own composition. He remained true to his own ideals, occasion?ally experimenting with the Impressionists' whole-tone scale or Wagner's chromaticism, but only momentarily. Faure's music is immediately identifiable as much for what it is not, as for the actual notes we hear. He forged a personal language which remained resistant to other trends swirling around him. This is not at all to suggest that he himself was mired in a single system of writing. His extraordinarily long life gave him plenty of room for development and change. Faure's song-writing can easily be divided into three periods, two of which are represented in this evening's selection. Initially, he inherited the romantic cloak from Gounod and Berlioz; the songs from this first period are more
decorative and laden with sweetness, senti?ment and charm. The exotic sensuality of Persia (Les Roses d'Ispahan) and the adorable picture of the song-fairy and her pupils (La fee aux chansons) would only appeal to the Faure of the 1870s and early 1880s, his first period of composition. Upon discovering the poetry of Verlaine, Faure entered a more sophisticated and elevated realm of expres?sion, and his musical vocabulary had to expand to accommodate this change. The central three songs in tonight's group are examples of this second period. Mandoline and Clair de lune evoke the elegance and formality of the eighteenth century. Both are aural representations of the visual world of Watteau and Fragonard. Formality and wit combine to offer us a highly poetic atmosphere. Prison is also part of this second Faure period, but Verlaine's bitter self-loathing has evoked a searing economy of style and gesture from the composer.
II
For Schumann, the year 1840 was a turning point both personally and professionally. Often called his "year of song," the flood of vocal masterworks produced between February and September of 1840 more than validates this epithet. Obstacles to his marriage to Clara Wieck were falling away, happiness was within reach, publishers were soliciting new scores daily, and the composer reacted to these joyous tidings with five significant song-cycles as well as innumerable individual expressions of lyricism. The Frauenliebe und -leben cycle of eight songs was composed in only two days' time. Schumann often exercised composer's license in omitting or altering poetry, and of Chamisso's nine poems, only eight were set to music here.
Much has been written of the unsuit-ability of the cycle's words for modern performances. Many a singer has eschewed
these old-fashioned, unliberated, anti-feminist lyrics in our century. Elizabeth Schwarzkopf first performed them during the last years of her career; Elly Ameling avoided the cycle until her farewell tour. The average twenti?eth-century woman cannot identify with the self-deprecating, ego-less texts of this French poet. But at the same time, one cannot deny the beauty and warmth of Schumann's music which these words inspired. Many a Schubert or Brahms song also ennobles questionable poetry with immortal music, and any singing actress need only access a nineteenth-century mentality to feel a kin?ship and empathy with these songs. They are the sincerest expressions of their era, and Schumann has responded with uncom?plicated, direct and highly romantic songs which mark the milestones in the life of any woman of that century.
Listen carefully to the first song, mark?ing the heroine's first sight of her beloved. The music proceeds insecurely temporary "blindness" being its inspiration. An assertive tune forms the basis for song two, as the man's virtues are trumpeted to all who will listen. Breathlessness in song three at being loved in return is quickly followed by the fourth song's serene hymn to the engagement ring. The actual wedding day is captured in the hysterical anxiety of "Helft mir," and we cannot help but notice the piano's postlude to this song: a march in fa-flat, bearing no resemblance to the song proper. Wagner's Lohengrin was ten years in the future, and yet one hears the germ of its Bridal Chorus clearly in Schumann's song. After five songs in flat keys, the composer shifts to sharps for songs six and seven. "Sufier Freund" is the core of the cycle, and Schumann introduces chromaticism and his own brand of impressionism to paint the intimacy and vulnerability of the situation. The nursery antics of song seven are clearly heard as Schumann waxes sing-song and childish. The young mother's giddiness is
a perfect foil to the last song when sudden tragedy overwhelms the happy family. Only recitative will suffice for the bleak emptiness melody would be too beautiful, too inappropriate. As our singer withdraws into herself, Schumann's favorite device, the postlude for piano solo, forms the denoue?ment of the story. The cycle's naive opening song is reiterated in entirety albeit with slight alterations as the widow silently remembers her joy of long ago.
Ill
Debussy's songs are not as numerous as Faure's, but then the impressionist was also occupied with symphonic tone-poems and his operatic masterwork, Pelleas et Melisande. Writing for voice and piano was a habit for Debussy since his teenage years, when he earned his spending money accom?panying lessons for the vocal pedagogue most in demand, Mme. Vasnier. His early songs seem mere copies of Massenet's idiom, and Debussy was not consistently careful in his choice of poetry. In 1888, however, all of this was to change as he took up the lyrics of Baudelaire and Verlaine. His immediate response to the perfumed eroti?cism and symbolism of these giants is clear?ly evident, and from this point on, Debussy finds his own voice, imitating no one. Ten years later, with the first act of Pelleas fin?ished, he selected these three prose poems of Pierre Louys for his triptych-cycle which we hear tonight. The poet had created quite the scandal in the salons of Paris, for originally he claimed to have found these twenty-six ancient Greek lyrics and simply translated the first-person accounts of the young Bilitis into French. Soon it was discovered howev?er, that Louys was actually the author of these sensuous feminine sentiments. This shocking revelation did not at all discourage the book's success, (quite the opposite in
fact!), nor did Debussy lack an audience for their musical settings.
Debussy treats the relationship of voice and piano as an equal partnership, and if he strays from this course, it is in the direction of lyricism for the keyboard and one-note declamation for the singer. The antique Greek fantasyland is established immediate?ly in the first song, with modality and spe?cific directions to avoid any strict rhythm. The seductive invitations of the flute are heard alone, and then braided into the singing of the adolescent Bilitis. Debussy has rarely surpassed the breathless subtlety of this initiation into the world of sensuality. (We must remember that Hellenic panthe?ism had a very different moral code from our own Judeo-Christian society.) In the second song, the lovers are at the summit of their union, and Debussy asks for "passion?ate and concentrated tone" as Bilitis relates her lover's erotic dream. No declamation is used here, rather a sweeping bel canto melody for both performers, surrounded with ninth, eleventh and thirteenth chords which are, of course, staples in the impres?sionist kitchen. Love does not last, and the joyous spirits of song give way abruptly to the austere, ice-world of the last song. Relentless walking motion in the piano shows us Bilitis' physical and emotional fatigue. Her lover's voice is low and lacking in melodic shape. As with any short song cycle, much happens between the songs, and it is challenging for the singer to present the whole story of Bilitis' Awakening, Flowering, and Abandonment in such a short time.
IV
The last song group of tonight's recital is a partial survey of twentieth-century America's songwriters. Everyone included is both indispensable and irreplaceable in our vocal repertoire. Ms. von Stade has rarely performed
a concert without including songs of her own country, even commissioning works herself on occasion; she has been regarded by American composers as a constant cham?pion of their many diverse voices through?out her career.
Enjoying this bouquet of songs requires no program notes close your books, open your ears and hear the amazing variety of textures, sounds, and responses to texts which the last hundred years have produced. If you'd like a bit of extra information, here is a quick list of facts to walk you through:
1 Ned Rorem's catalogue is ninety percent songs, and he is able to change styles as the poet and the context demand. This is a four-sentence bit of Gertrude Stein fluff which requires longer to read about than to experi?ence.
2 Charles Ives published his songs at his own expense, being a successful insurance agent. As with Rorem, it is impossible to speak of an "Ives' style." One of his favorite subjects is homespun Americana, as these two songs stitched together would attest.
3 New Yorker Richard Hundley is a great friend to America's singers, and writes only songs. While usually very lyrical, he can also select wry and amusing poems like this silly, anonymous sixteenth-century verse.
4 "Greeting" is from Bernstein's last work, a song-cycle for four singers and two pianists. This simple utterance, reminiscent of Mass (1971), has lyrics by the composer himself and is dedicated to his two children.
5 Capturing the inflection of words, finding the perfect rhythm for our speech patterns: these were the life-long preoccupation of Virgil Thomson, composer and critic. While the piano's chords are remarkably simple triads, usually in root position, the singer's declamation requires a complex notation in order to sound natural.
6 Rorem and Hundley have also set this delightful Roethke text to music, but it is Lee Hoiby's song, written for Leontyne Price, which has proved to be the most pop?ular. Hoiby is another composer who has written more songs than anything else.
7 Copland's Little Horses is the only folk?song performed tonight. (Ms. von Stade's last UMS appearance featured no less than eighty percent folk music.) In the two volumes of Old American Songs, Copland has gathered traditional tunes from all regions and limned them with colorful accompaniments right out of Appalachian Spring or Billy the Kid. Written for piano or orchestra, these songs have never left the active repertoire since their composition half-a-century ago.
8 Thomas Pasatieri has written two cycles and an operatic role specifically for Frederica von Stade. A student of Menotti, Pasatieri has now become a highly successful film-score composer in Hollywood. This "unim?portant" little waltz from his youth features lyrics which could constitute a narcissistic credo. How well those of us associated with singers understand these sentiments!
9 The son of a jazz trumpeter, pianist and composer, John Musto appeared in Ann Arbor only last season as part of the New York Festival of Song Gershwin tribute. He often incorporates the blues into his serious music, dedicating many of his songs to his wife, soprano, Amy Burton. This haunting setting of Langston Hughes' words is on its way to becoming an American art-song classic.
10 William Bolcom needs no introduction for Ann Arbor audiences he is a part of our own community. His three volumes of Cabaret Songs achieve a wonderful blend of classic, jazz, and pop.. .and not without considerable humor.
Program notes by Martin Katz.
Described by the New York Times as "one of America's finest artists and singers," Frederica von Stade is in the beginning of the fourth decade of an extraordinary career and con?tinues to reign as one of the music world's most beloved figures.
Ms. von Stade's career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera Auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the thirtieth anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her twenty-fifth anniversary, the Metropolitan Opera created for her a new production of Pelleas et Melisande. In addition, Ms. von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago and Los Angeles Music Center Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alia Scala, Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the world's finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, Andre Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in con?cert with the world's leading orchestras, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony, Washington's National Symphony and the Orchestra of La Scala.
With impressive versatility, she has effortlessly traversed an ever-broadening spectrum of musical styles and dramatic
characterizations. A noted bel canto special?ist, she excelled as the heroines of Rossini's La cenerentola and barbiere di Siviglia and Bellini's La sonnambula. She is an unmatched stylist in the French repertoire; a delectable Mignon or Perichole, a regal Marguerite in Berlioz' La damnation de Faust, and, in one critic's words, "the Melisande of one's dreams." Her elegant figure and keen imagination have made her the world's favorite interpreter of the great trouser roles, from Strauss' Octavian and Composer to Mozart's Sextus, Idamante and Cherubino. Ms. von Stade's artistry has inspired the revival of neglected works such as Massenet's Cherubin, Thomas' Mignon, Rameau's Dardanus, and Monteverdi's ritorno d'Ulisse in patria. Her ability as a singing actress has allowed her to portray wonderful works in operetta and musical theater including the title role in The Merry Widow and Desiree Armfeltt in A Little Night Music. Her repertoire is continually expanding with the works of contemporary composers. She created the role of Tina in Dallas Opera's world-premiere production of Dominick Argento's The Aspern Papers (a work written for her) and the role of Madame de Merteuil in the world premiere of Conrad Susa's Dangerous Liaisons for San Francisco Opera.
Frederica von Stade's orchestral reper?toire is equally broad, embracing works from the Baroque to that of today's com?posers. She has garnered critical and popu?lar acclaim in her vast French repertoire as one of the world's finest interpreters of Ravel's Sheherazade, Berlioz' Les nuits d'ite, and Canteloube's Les chants d'Auvergne. She is continually in demand for the symphonic works of the great Austrian and German composers including Mozart and Mahler, as well as the new works of American com?posers.
It was the American composer, Richard Danielpour, who in 1998 helped Frederica
von Stade to realize an artistic and personal dream when he wrote Elegies. The work, scored for orchestra, mezzo-sopra?no and bari?tone, is a trib?ute to Ms. von Stade's father,
Charles von Stade, who was killed in the final days of World War II, and is based on the text of letters Mr. von Stade sent to his wife during the war. It is through these let?ters that Frederica von Stade came to know her father, who died two months before her birth. In January 1998 the Jacksonville Symphony, led by Roger Nierenberg, offered the world premiere of Elegies with perfor?mances in Florida and in New York's Carnegie Hall. Elegies was recorded by Sony Classical in 1998 and will be performed throughout North America and Europe in coming seasons.
Unparalleled in her artistry as a recital-ist, Ms. von Stade combines her expressive vocalism and exceptional musicianship with a rare gift for communication, enriching audiences throughout the world. Here, too, her repertoire encompasses an expansive scope, from the classical style of Mozart and Haydn to the popular songs of Broadway's greatest musicals; from the Italian "Arie antiche" to the songs of contempory com?posers who compose especially for her -such as Dominick Argento and Jake Heggie.
She has made over three dozen recordings with every major label, including complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Her recordings have garnered six Grammy nominations, two Grand Prix du
Fredertca von Stade
Disc awards, the Deutsche Schallplattenpreis, Italy's Premio della Critica Discografica, and "Best of the Year" citations by Stereo Review and Opera News. She has enjoyed the dis?tinction of holding simultaneously the first-and second-places on national sales charts for AngelEMI's Show Boat and Telarc's The Sound of Music.
Ms. von Stade appears regularly on television, through numerous PBS and other broadcasts, including a gala concert for the San Francisco Symphony which opened the 1998-99 season at New York's Carnegie Hall and a Live from Lincoln Center televi?sion event which opened the 1999 season of the Mostly Mozart Festival. She can be seen in Live from the Met performances as Cherubino, Hansel and Idamante, and through PBS broadcasts of her celebration of the art of American song with Thomas Hampson, Marilyn Home, Dawn Upshaw and Jerry Hadley in a program at New
York's Town Hall titled Hear America Singing, as well as a program with Tyne Daly which included arias, art songs and popular crossover material. Also seen on PBS were a holiday special, Christmas with Flicka, shot on location in Salzburg, and an evening of operatic and musical theater selections with Samuel Ramey and Jerry Hadley titled Flicka and Friends. Her recent portrayals in Dangerous Liaisons and The Aspern Papers were broadcast throughout North America. She can also be seen in the Unitel film of the classic Jean-Pierre Ponnelle production of La cenerentola.
Frederica von Stade's 1999-2000 season begins with a series of concerts and recitals. She opens the season for the Colorado Symphony before she joins Chanticleer, a thirteen voice a capella male vocal ensemble, in a tour of unique programs featuring Ms. von Stade as soloist with the ensemble. In addition to her appearance in the title role in The Merry Widow, Ms. von Stade opens the season for Dallas Opera as Sesto in La demenza di Tito. Soon after, she tours the US in recital, culminating in two appearances in New York City at Alice Tully Hall in a celebration of the music of Jake Heggie, and at Carnegie Hall in a program of American music with Samuel Ramey. Ms. von Stade and Mr. Ramey join again to tour in concert together with performances at the Ravinia Festival, the Hollywood Bowl and the Brevard Festival. In concert, Frederica von Stade appears with the London Philharmonia, under the direction of Leonard Slatkin, as well as the Milwaukee Symphony and the Louisville Orchestra.
Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music. In 1998, Ms. von Stade was awarded France's highest honor in the Arts, when
she was appointed as an officer of L'Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at The White House by former President Ronald Reagan in recognition of her significant contribu?tion to the arts.
This evening's recital marks Frederica von Stade's second appearance under UMS auspices.
Martin Katz must surely be considered the dean of collaborative pianists," said the Los Angeles Times after a concert this season. One of the world's busiest collaborators, he finds himself in constant demand by many of the most celebrated vocal soloists in recital. His partnership with Frederica von Stade is now twenty-six years old. In addition, he has appeared regularly with Marilyn Home, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, Sylvia McNair, and Jose Carreras in both concerts and recordings.
Season after sea?son, the world's musical capitals figure prominently in his schedule. His many appear?ances at New York's Carnegie Hall, Washington's Kennedy Center, Milan's La Scala, Vienna's
Musikverein and Buenos Aires' Teatro Colon have been lauded by audiences and critics alike. He has more than a dozen recordings to his credit for the BMG, CBS, Sony, Decca, Phillips, RCA, and FonitCetra labels.
Martin Katz is a native of California, where he began piano studies at the age of
Martin Katz
five. He attended the University of Southern California as a scholarship student and studied the specialized field of accompany?ing with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus in Washington, DC, before moving to New York and beginning his international career in earnest.
In recent years, invitations to conduct orchestral evenings have come with increas?ing frequency. Mr. Katz has partnered sever?al of his soloists on the podium for the orchestras of B.B.C., Houston, Washington, DC, Tokyo, New Haven and Miami. His appearances in the opera house have includ?ed Don Pasquale, Don Giovanni, Hansel and Gretel and Dialogues des Carmelites in recent years. His editions of works by Handel and Rossini have been presented by the Metropolitan, Houston Grand Opera and the National Arts Centre in Ottawa.
The professional profile of Martin Katz is completed with his commitment to teach?ing. For many years, he has been Professor in charge of accompanying and chamber music at the University of Michigan, and has played a pivotal role in the training of countless young artists who are now work?ing all over the world. The University of Michigan School of Music recently named him the Arthur Schnabel Professor of Music. He is also a frequent guest for master classes here and abroad, regularly visiting institutions such as the Manhattan School of Music, The Juilliard School, Tanglewood Music Center, UCLA and the Santa Fe Opera.
This evening's recital marks Martin Katz' twenty-third appearance under UMS auspices.
UMS
Experience
UMS WINTER 2000 SEASON
All educational activities are free and open to the public unless otherwise noted ($). For more infor?mation on educational activities, call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764.2538. Activities are also posted on the UMS Website at www.ums.org.
The Romeros
Sunday, January 9, 4 p.m. Rackham Auditorium Sponsored by AT&T Wireless Services.
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and a special showing of Three, a film by Isaac Julien featuring Bebe Miller and Ralph Lemon. Friday, January 14, 7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Building. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance.
Advanced Modem Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A. $ PREP "Identity and Process in Bebe Miller's Choreography" by Ben Johnson, UMS Director of Education and Audience Development. Saturday, January 15,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance: a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. 77iis project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDETand Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support from Republic Bank. Media sponsors WEMUand WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Tristano Schlime
piano
UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium
Center for Russian and Eastern European Studies Symposium "Apocalypse Now Scriabin and Russian Culture at the End of the Century" Sunday, January 23, Media Union. Full schedule at http:www.umich.edu -iinelcrees or call 734.764.0351. CREES Mini-Course on fin de siecle Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www.umich.edu -iinetcrees or call 734.764.0351. Pre-concert Performance traditional SlavonicRussian songs performed by St. Romano's Ensemble. Monday, January 24,7-7:45 p.m., Hill Auditorium Lobby. Free with paid admission to Russian National Orchestra concert.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano
Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre", U-M Professor of Music and Musicology. Saturday, January 29, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Presented with the generous support of The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Additional support provided by Randy Parrish Fine Framing and Art. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, January 30, 4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
UMS Performing Arts Teacher Workshop "Jazz in the Classroom" Wednesday, February 2,4 p.m. To register call 734.615.0122. $ Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music. Observation only. Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Made possible by a gift from David and Martha Krehbiel, "to honor the memory of Bertha and Marie Krehbiel for whom music was life." Additional support pro?vided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and The Swedish Round Table Organizations. Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center
Master of Arts Interview with Meredith Monk interviewed by Beth Genne, U-M Professor of Art History Dance HistoryDance. Tuesday, February 8,12 noon, U-M School of Music Recital Hall. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, U-M Department of Composition and the U-M Department of Dance. PREP "Goddess Meredith: The Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9,7 p.m., Michigan League Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. This project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium
Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10, 3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies and the U-M Office of the Provost; and the North American Secretariat for the International Center for African Music and Dance. Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Martha Clarke Vers la flamme Christopher O'Riley, piano Friday, February 11,8 p.m. Power Center
Master of Arts Interview with Martha Clarke, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Friday, February 11,12 noon, Betty Pease Studio, U-M Dance Building, 2nd Floor. In conjunc?tion with the Institute for Research on Women and Gender, and the U-M Department of Dance. Meet the Artist Post-performance dialogue from the stage. Advanced Modern Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Building, Studio A. $ 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
WGTE.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director
Sunday, February 13, 8 p.m.
St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium Master of Arts Interview of Murray Perahia, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Tuesday, February 15, 7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance) Saturday, February 19, 8 p.m. Power Center
PREP "Opera 101" with Helen Siedel, UMS Education Specialist. Friday, February 18,7 p.m., Michigan League, Hussey Room, 2nd Floor. PREP for Kids with Helen Siedel, UMS Education Specialist. Saturday, February 19,1 p.m., Michigan League, Koessler Library, 3rd Floor. Sponsored by Parke-Davis Pharmaceutical Research.
Christian Tetzlaff, violin Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
Added Performance An Evening with Audra McDonald
Ted Sperling, piano and
music director Sunday, March 5, 8 p.m. Power Center
This concert is presented in conjunction with the symposium, The Fine and Performing Arts of African Americans: Enhancing Education, held March 2-8 and with the Finals Concert of the Sphinx Competition, Sunday, March 5 at 4 p.m. in Hill Auditorium.
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mandinka Epic
Jean Pierre Leurs, director Thursday, March 9, 8 p.m. Friday, March 10, 8 p.m. Power Center
Mandinka Epic Symposium
"Rethinking the African Epic." Thursday, March 9,4 p.m., Rackham Assembly Hall. In conjunction with the Center for Afroamerican and African Studies, U-M Office of the Provost, and the North American Secretariat for the International Center for African Music and Dance. With reception. Drumming Master Class Saturday, March 11, 10 a.m., Washtenaw Community College. Call 734.647.6712 for more information. African Dance Master Class Saturday, March 11,2 p.m., Betty Pease Studio, U-M Dance Building, 2nd Floor. Call 734.647.6712 for more information. Sponsored by Detroit Edison Foundation. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
The English Concert Trevor Pinnock, conductor and harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro AH Akbar Khan
accompanied by
Zakir Hussain
Friday, March 17, 8 p.m.
Hill Auditorium
Sponsored by Megasys Software Services,
Inc. Media sponsor WDET.
American String Quartet
Beethoven the Contemporary Sunday, March 19,4 p.m. Rackham Auditorium Meet the Artist Post-performance dialogue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP "The Art is Song" with Richard LeSueur, Vocal Arts Information Services. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Forgiveness
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Mini-Course "Japan, China, Korea and the United States: Theater Across the Borders." For more information, con?tact Brett Johnson at 734.764.6307. Korean Dance Master Class taught by Song Hee Lee, Wednesday, March 22,11 a.m., U-M Dance Building. Noh Theater Master Class taught by Akira Matsui, Wednesday, March 22,
3 p.m., Arena Theater, Frieze Building. Master of Arts Interview with Chen Shi-Zheng, Artistic Director of Forgiveness. Wednesday, March 22, 6 p.m., Room 1636, International Institute, School of Social Work Building. Chinese Opera Lecture Demonstration by Zhou Long and Museum Tour of the U-M Museum of Art Chinese Art Exhibit, Thursday, March 23,6:30 p.m. Meet the Artist Post-performance dialogue from the stage. Presented with the generous support of Dr. Herbert Sloan. Additional support provided by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium Sponsored by Dow Automotive.
Moscow Virtuosi
Vladimir Spivakov, conductor Inva Mula, soprano Friday, March 31,8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 p.m. Hill Auditorium
Open Rehearsal and Master of Arts
Interview with Vladimir Ashkenazy,
Saturday, April 1, time TBA, Hill
Auditorium.
Sponsored by Pepper Hamilton LLP.
Media sponsor WGTE.
The Watts Prophets
with special guest Toni Blackman Saturday, April 8, 8 p.m. Michigan Theater For full residency details, please call 734.647.6712.
Toni Blackman is presented in conjunc?tion with the King-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 WEMUand Metro Times.
Season Listing continued on page 33
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Ben Johnson, UMS Director of Education and Audience Development. Tuesday, February 1,12 noon, U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12, 12 noon, U-M Dance Building, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance. PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. This project is supported in part by a grant from the National Endowment for the Arts.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre Vocal Master Class with Susanne Mentzer. Friday, April 14,2:30 p.m., U-M School of Music Recital Hall. Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium Made possible by a gift from the estate of William R. Kinney.
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Orchestra
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16,4 p.m. Hill Auditorium Presented with the generous support of Carl and 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.
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.
Ford Honors Program Honorees
1996
Van
Cliburn
1997
Jessye
Norman
1998 Garrick Ohlsson
1999 The
Canadian Brass
EDUCATION & AUDIENCE DEVELOPMENT
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's special, one-hour Family Performances include:
? Amalia Hernandez' Ballet Folklorico
de Mexico
Boys Choir of 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 Mand'mka Epic
Chen Shi-Zheng's Forgiveness
? The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length, specially designed, teacherand student-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The 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
Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
? "Jazz in the Classroom" with the Jazz at Lincoln Center Sextet
"Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by calling 734.647.8009. UMS members receive reservation priority.
We are grateful to Al Rental, Inc. for their support of these special dinners.
Thursday, January 20
Yo-Yo Ma
Monday, January 24
Russian National Orchestra
Saturday, February 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
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-away. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two prior?ity reserved tickets to the performance.
The Bell Tower Hotel & 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 Peterson Quartet
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Package price is $63.25 per person.
UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
Azure
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at www.azureusa.com.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The Earle
121 West Washington 734.994.0211 Provincial French and Italian dishes served in a casually elegant cellar setting. Wine list of over 1,000 selections. Live music nightly. Private rooms seat 8-30.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
Mild
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveabie Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 734.769.5960 As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines by the glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
Weber's Restaurant
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS
Support
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
ADVISORY COMMITTEE
Now fifty-four members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and assisting in fundraising. Through an annual auction, sea?son opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $200,000 to UMS this sea?son. Additionally, the Committee's hard work is now in evidence with the publication of BRAVO!, a cookbook that traces the history of UMS through the past 120 years, with recipes submitted by artists who have per?formed under our auspices. If you would like
to become involved in this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
SPONSORSHIP & ADVERTISING
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural
treasures. And there are numerous benefits that accrue from your investment. For exam?ple, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products
? Cultivating clients Developing business-to-business
relationships
Targeting messages to specific demographic groups
? Making highly visible links with arts
and education programs Recognizing employees
? Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INTERNSHIPS
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
COLLEGE WORK-STUDY
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
SHERS
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 400 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. To become an usher, each vol?unteer attends one of several orientation and training sessions offered year-round. Full?time ushers are responsible for working at every UMS performance in a specific venue (i.e. Hill, Power Center, or Rackham) for the entire concert season; substitute ushers fill in for specific shows that the full-time ushers cannot attend.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. ' The list below represents names of current donors as of November 3, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Dr. Kathleen G. Charla
Dr. and Mrs. James Irwin
The Lohr Family
Charlotte McGeoch
Randall and Mary Pittman
Herbert Sloan
and several anonymous donors
Businesses
Aetna Financial Services
Bank One, Michigan
Brauer Investments
DaimlerChrysler
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Project Image Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Community Foundation for Southeastern Michigan
Lila Wallace Reader's Digest Audiences for the Performing Network
Lila Wallace Reader's Digest Arts Partners Program
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
MAESTROS
Individuals
Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and Amnon Rosenthal
Businesses
Bank of Ann Arbor
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. Comerica Incorporated Edward Surovell Realtors KeyBank Lufthansa German Airlines
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Pepper, Hamilton & Scheetz Thomas B. McMullen
Company Wolverine Temporaries, Inc.
Foundations
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Edward Surovell and Natalie Lacy
Businesses
CFI Group Holnam, Inc.
CONCERTM ASTERS
Individuals
Herb and Carol Amster Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner F. Bruce Kulp and Ronna Romney David G. Loesel Sally and Bill Martin Natalie Matovinovic Joe and Karen Koykka O'Neal John and Dorothy Reed Loretta M. Skewes Carol and Irving Smokier Ronald and Eileen Weiser Marina and Robert Whitman
Businesses
Ann Arbor Acura AT&T Wireless Blue Nile Restaurant Butzel Long Attorneys Cafe Marie
Chelsea Milling Company Deloitte & Touche Dow Automotive Elastizell Corp of America Institute for Social Research Miller, Canfield, Paddock,
and Stone LLP O'Neal Construction Visteon
Foundations
Chamber Music America Jewish Community Center of
Washtenaw County THE MOSAIC FOUNDATION
(of R. & P. Heydon)
LEADERS
Individuals
Martha and Bob Ause Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Dr. Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Kathleen and Dennis Cantwell Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jack and Alice Dobson Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Otto and Lourdes E. Gago Debbie and Norman Herbert Keki and Alice Irani Robert and Pearson Macek Robert and Ann Meredith George and Barbara Mrkonic John Psarouthakis Mabel E. Rugen Don and Judy Dow Rumelhart Professor Thomas J. and Ann
Sneed Schriber Don and Carol Van Curler Richard E. and
Laura A. Van House Mrs. Francis V.Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses
AAA Michigan Alcan Automotive Products Austin & Warburton ERIM International Inc Ideation, Inc. Joseph Curtin Studios Megasys Software Services Inc. Randy Parrish Fine Framing Republic Bank Ann Arbor Sesi Investment Target Stores
Foundations
Ann Arbor Area Community
Foundation Shiftman Foundation Trust
(Richard Levey)
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Lloyd and Ted St. Antoine Max K. Aupperle Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Karen and Karl Bartscht Kathy Benton and Robert Brown L. S. Berlin Philip C. Berry Suzanne A. and
Frederick J. Beutler Elizabeth and Giles G. Bole Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Bruce and Jean Carlson Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase
George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Howard J. Cooper Mary K. Cordes Peter and Susan Darrow Elizabeth A. Doman Mr. and Mrs. John R. Edman Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein
Principals, continued
Ray and
Patricia Fitzgerald David C. and
Linda L. Flanigan Robben and
Sally Fleming James and Anne Ford Ilene H. Forsyth Michael and Sara Frank Edward P. Frohlich Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard Greene Frances Greer Alice Berberian Haidostian Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and
Joan F. Howe Sun-Chien and
Betty Hsiao John and
Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Richard and
Sylvia Kaufman Thomas and
Shirley Kauper Bethany and Bill Klinke Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Jill Latta and
David S. Bach Mr. and Mrs.
Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis
John and Cheryl MacKrell Judy and Roger Maugh Margaret W. Maurer Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs.
Donald A. Meier Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Lester and Jeanne Monts Grant W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Stephen and Agnes
Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Dick and Norma Sams Maya Savarino Mrs. Richard C. Schneider
Rosalie and
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia
Settimi
Janet and Mike Shatusky Helen and George Siedel J. Barry and Barbara M.
Sloat
Steve and Cynny Spencer James and Nancy Stanley Mr. and Mrs. John C.
Stegeman Victor and Marlene
Stoeffler James L. and Ann S.
Telfer
Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Gregory and Annette
Walker
Elise and Jerry Weisbach Angela and Lyndon
Welch
Roy and JoAn Wetzel Paul and Elizabeth
Yhouse
Businesses
A-l Rentals, Inc. Alf Studios Allen & Kwan Commercial Briarwood Mall Chris Triola Shar Music Company STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation Hudson's Circle of Giving The Lebensfeld
Foundation Montague Foundation The Power Foundation
BENEFACTORS
Individuals
M. Bernard Aidinoff Robert Ainsworth Michael and Suzan
Alexander
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold Aronoff James R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and Maureen
Foley
Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Carl and Isabelle Brauer Professor and Mrs. Dale E.
Briggs
David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn
Campbell Jean W. Campbell Michael and Patricia
Campbell
George R. Carignan Jim and Priscilla Carlson James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford George and Connie Cress Mary R. and John G. Curtis Mr. and Mrs. William H.
Damon III
John and Jean Debbink James M. Deimen Katy and Anthony
Derezinski Delia DiPietro and Jack
Wagoner, M.D. Dr. and Mrs. Stephen W.
Director
Molly and Bill Dobson Mr. and Mrs. Raymond D.
Dornbusch Charles and Julia Eisendrath
Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs.
John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Susan Goldsmith and
Spencer Ford Phyllis W. Foster Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb Dr. and Mrs.
William A. Gracie Elizabeth Needham Graham Dr. John and
Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart Mr. and Mrs.
E. Jan Hartmann Anne Vance Hatcher Nina E. Hauser Jeannine and Gary Hayden Fred and Joyce Hershenson Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Robert L. and
Beatrice H. Kahn Dr. and Mrs.
Mark S. Kaminski Herbert Katz Richard L. Kennedy Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Rhea and Leslie Kish Hermine R. Klingler Philip and
Kathryn Klintworth
Jim and Carolyn Knake Samuel and Marilyn Krimm Bud and fustine Kulka David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Richard LeSueur Pat and Mike Levine Myron and Bobbie Levine Carolyn and Paul Lichter Richard and Stephanie Lord Mr. and Mrs.
Carl J. Lutkehaus Brigitte and Paul Maassen Mark Mahlberg Suzanne and Jay Mahler Edwin and Catherine Marcus Geraldine and
Sheldon Markel Chandler and
Mary Matthews Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Ted and Barbara Meadows Bernice and Herman Merte Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Brian and Jacqueline Morton Hillary Murt and
Bruce A. Friedman Martin Neuliep and Patricia
Pancioli
Len and Nancy Niehoff Dr. and Mrs.
Frederick C. O'Dell Bill and Marguerite Oliver Mr. and Mrs.
James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Murray and Ina Pitt Stephen and Bettina Pollock Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B.
Price
V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Mary R. Romig-deYoung Arthur J. Rose Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and
Charles Schmitter Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and
Scott K. Simonds Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter John D. Tennant and
Barbara Campbell Scott Bennett Terrill Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and Dr.
Lynn T. Schachinger Bryan and Suzette Ungard Walter E. Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Dana M. Warnez Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Harry C. White and Esther
R. Redmount Clara G. Whiting Brymer Williams Frank E.Wolk J. D. Woods
David and April Wright Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young
Businesses
The Barfield CompanyBartech Charles Reinhart Company
Realtors Detroit and Canada Tunnel
Corporation
Detroit Swedish Council Inc. Guardian Industries
Corporation King's Keyboard House
Quinn EvansArchitects Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs.
David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, HI Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlcne Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. Ralph Bozell Dr. and Mrs. C. Paul Bradley James and Jane Bradner Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton Olin L. Browder Morton B. and Raya Brown Virginia Sory Brown Dr. and Mrs. Donald T. Bryant Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Marshall F. and Janice L. Carr Jcannette and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Charles and Lynne Clippert Gerald S. Cole and
Vivian Smargon
Associates, continued
John and Penelope Collins Wayne and Melinda Colquitt Edward J. and
Anne M. Comeau Lolagenc C. Coombs Kathleen Cooney and
Gary Faerber Paul N. Courant and
Marta A. Manildi Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael I. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Charles and
Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco Ellwood and Michele Derr Marnee and John DeVine Elizabeth Dexter Macdonald and Carolin Dick Heather and Stuart Dombey Dr. and Mrs.
Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Jane E. Dutton Kathy and Ken Eckerd Martin and Rosalie Edwards Joan and Emil Engel Patricia Enns Don and Jeanette Faber Susan Feagin and John Brown Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Deborah and Ronald
Freedman
Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Gwyn and Jay Gardner Professor and Mrs. David M. Gates Wood and Rosemary Geist Elmer G. Gilbert and Lois M. Verbrugge Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin J. Goldstein and
Marty Mayo Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Daphne and Raymond Grew Lauretta and Jim Gribblc Carleton and Mary Lou Griffin
Bob and Jane Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Don P. Haefner and
Cynthia J. Stewart Susan and )ohn Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffher I. Lawrence and
Jacqueline Stearns Henkel Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hinman and
Elizabeth A. Young Kenneth and Joyce Holmes Ronald and Ann Holz Linda Samuelson and
Joel Howell Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Hazel Hunsche Thomas and
Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and Denise Kantner David and Sally Kennedy Frank and Patricia Kennedy Emily and Ted Kennedy Don and Mary Kiel Tom and Connie Kinnear Paul and Dana Kissner James and Jane Kister Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine Jacqueline H. Lewis Leons and Vija Liepa Alene and Jeff Lipshaw Vi-Cheng and Hsi-Yen Liu Peter and Sunny Lo Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Sally C. Maggio Mr. and Mrs. Stephen Maggio Virginia Mahle Melvin and Jean Manis Marcovitz Family Nancy and Philip Margohs Irwin and Fran Martin
Margaret E. McCarthy Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Walter and Ruth Metzger Helen Metzner Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and
Barbara Murphy Richard S. Nottingham Steve and Christine Nowaczyk Julie and Dave Owens David and Andrea Page Mr. and Mrs. William B. Palmer Helen 1. Panchuk Dr. Owen Z. and
Barbara Perlman Jim and Julie Phelps Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Elizabeth L. Prevot Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Sheldon Sandweiss Michael and Kiiuin Sarosi Albert J. and Jane L. Sayed Drs. Edward and
Virginia Sayles Sue Schroeder
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A.
Showalter
Irene and Oscar Signori Sandy and Dick Simon
Robert and Elaine Sims John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L Grasselli Sprankle Francyne Stacey Barbara Stark-Nemon and
Barry Nemon Sally A. Stegeman Virginia and Eric Stein Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Joe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Mary D. Teal Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C.VasseU Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees Mrs. Norman Wait Virginia Wait Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D.Weber Deborah Webster and . George Miller Walter L. Wells Marcy and Scott Westerman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses
Alice Simsar Fine Art
The Ann Arbor District Library
Atlas Tool, Inc.
Coffee Express Co.
Complete Design and
Automation Systems Inc. Diametron, Inc. Dupuis & Ryden RC. General Systems
Consulting Group Jenny Lind Club of
Michigan, Inc. Malloy Lithography Pollack Design Associates Scientific Brake and
Equipment Company A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
Foundations
The Sneed Foundation, Inc.
ADVOCATES
Individuals
John R. Adams
Tim and Leah Adams
K.iu and Nobuko Akitomo
Gordon and Carol Allardyce
James and Catherine Allen
Richard and Bettye Allen
Barbara and Dean Alseth
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Joseph and Annette Anderson
Drs. James and
Cathleen Culotta-Andonian Timothy and Caroline Andresen Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperle John and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jcrald Bachman Jane Bagchi Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia
Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and
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Susanne Mentzer Sharon Isbin ,,
Three Lieder
Franz Schubert Transcribed by Sharon Isbin
Standchen
(Ludwig Rellstab)
Leise flehen meine Lieder durch die Nacht zu dir; in den stillen Hain hernieder, Liebchen, komm zu mir!
Flusternd schlanke Wipfel rauschen in des Mondes Licht; des Verraters feindlich Lauschen fiirchte, Holde, nicht.
Horst die Nachtigallen schlagen ach! Sie flehen dich, mit der Tone sufien Klagen flehen sie fiir mich.
Sie verstehn des Busens Sehnen, kennen Liebesschmerz, riihen mit den Silbertonen jedes weiche Herz.
Lafi auch dir die Brust bewegen, Liebchen hore mich! bebend harr ich dir entegen! komm, beglucke mich!
Serenade
Softly imploring, my songs Steal through the night to you! Down into the silent grove, Beloved, come to me!
Whispering, slender treetops rustle
In the moon's bright light;
My dear, do not fear
That some hostile betrayer may hear us.
Can you hear the nightingales calling Ah, it is you they implore! With their sweet lamenting notes They plead with you for me.
They understand the heart's repining, They know the pain of love And with their silvery notes they touch Each tender heart.
Let your heart, too, be moved, Beloved, listen to me! Trembling, I await you! Come, and bring me joy!
Heidenroslein
(Johann Wolfgang von Goethe)
Sah ein Knab ein Roslein stehn', Roslein auf der Heiden, war so jung und morgenschon, lief er schnell, es nah zu sehn', Sah's mit vielen Freuden. Roslein, Roslein, Roslein, rot, Roslein auf der Heiden.
Knabe sprach: ich breche dich, Roslein auf der Heiden, Roslein sprach: ich steche dich, daS du ewig denkst an mich, und ich will's nicht leiden. Roslein, Roslein, Roslein, rot, Roslein auf der Heiden.
Und der wilde Knabe brach's Roslein auf der Heiden Roslein wehrte sich und stach, half ihr doch kein Weh und Ach, mufit es eben leiden. Roslein, Roslein, Roslein, rot, Roslein auf der Heiden.
Nachtstuck (Johann Mayrhofer)
Wenn uber Berge sich der Nebel breitet, Und Luna mit Gewolken kampft, So nimmt der Alte seine Harfe Und schreitet und sigt waldeinwarts und gedampft:
"Du heil'ge Nacht, bald ist's vollbracht, Bald schlaf ich hin, den langen Schlummer, Der mich erlost von allem Kummer."
Die griinen Baume rauschen dann: "Schlaf siiS, du guter alter Mann;" Die Graser lispeln wankend fort: "Wir decken seinen Ruheort."
Wild Rose
Once a boy saw a wild rose Growing on a heath, It was so young and fair as dawn. He ran quickly to look more closely, Looked at it with joy aplenty. Wild rose, wild rose, wild rose red, Wild rose upon the heath.
Said the boy: I shall pluck you, Wild rose upon the heath. Said the rose: I shall prick you, So you'll always remember me, And I shall not suffer it. Wild rose, wild rose, wild rose red, Wild rose upon the heath.
And the wild-hearted boy plucked The wild rose upon the heath; The rose resisted and pricked him, Though her cries of pain availed her naught, No choice did she have but to suffer. Wild rose, wild rose, wild rose red, Wild rose upon the heath.
Nocturne
When the mist spreads over the mountains And the moon does battle with the clouds, The old man takes up his harp and walks Down to the woods, singing in muted tones:
"Holy night, it will soon be over, Soon I shall sleep the sleep of ages That frees me from all pain."
Then the green trees rustle: "Sleep sweetly, you good old man." The swaying grasses whisper: "We shall cover his resting place."
Und mancher liebe Vogel ruft: "O laCt ihn ruhn in Rasengruft." Der Alte horcht, der Alte schweigt,
Der Tod hat sich zu ihm geneigt.
And many a lovely bird calls:
"Let him rest in a grassy vault."
The old man listens, the old man falls
silent: Death has descended upon him.
II
Four Bergerettes (Eighteenth-century French Folksongs)
Traditional
Arr. Seigfried Behrend,
Revised by Sharon Isbin
Jeunes Fillettes
Jeunes fillettes, profitez du temps,
La violette se cueille au printemps
La-la-la-ri-ret-te,
La-ri-lou-lau-la,
La-la-la-ri-ret-te,
La-ri-lou-lau-la.
Cette fleurette passe en peu de temps,
Toute amourette passe ?galement.
Dans un bel age
Prenez un ami,
S'il est volage,
Rendez-le lui
La-la-la-ri-ret-te,
La-ri-lou-lau-la,
La-la-la-ri-ret-te,
La-ri-lou-lau-la.
Young Girls
Young girls, seize the moment,
The violet is picked in spring.
Lalalarirette,
Lariloulaula,
Lalalarirette,
Lariloulaula!
This little flower fades so swiftly,
As every passing fancy does.
In your youth
Take a lover.
If he's fickle,
Take revenge.
Lalalarirette,
Lariloulaula,
Lalalarirette,
Lariloulaula!
Que ne suis-je la fougere!
Que ne suis-je la fougere, Ou sur la fin d'un beau jour, Se repose ma bergere Sous la garde de l'amour. Que ne suis-je le ze"phire Qui rafraichit ses appas, L'air que sa bouche respire, La fleur qui nait sous ses pas
Que ne puis-je par un songe Tenir con coeur enchante! Que ne puis-je du mensonge Passer a la ve'rite'! Les dieux qui m'ont donni l'etre M'ont fait trop ambitieux, Car enfin je voudrais etre Tout ce qui plait a ses yeux.
L'amour s'envole
L'amour est un enfant timide,
La se've'rite' lui fait peur.
C'est la liberte qui le guide
Pour trouver le chemin d'un coeur.
Tandis qu'il n'a rien a craindre,
Les ris et les jeux suivent ses pas.
Mais des qu'on le veut contraindre,
II s'envole, et ne revient pas,
Et ne revient pas.
L'amour est un enfant timide,
La se've'rite' lui fait peur.
C'est la liberty qui le guide
Pour trouver le chemin d'un coeur.
If I were a fern
If I were a fern,
On which, at the end of a beautiful day,
My shepherdess might rest
While love kept watch
Why am I not the breeze
That cools her charming brow,
The air that her mouth respires,
The flower that is born beneath her steps
If only I could, by dreaming Hold her heart in thrall Why can I not from untruth Pass to truth The gods who gave me life Have made me too ambitious For in the end I should like to be All that is pleasing in her sight.
Love takes wing
Love is a timid child.
Severity makes him afraid.
It is freedon that guides him
And shows him the way to a heart.
As long as he's nothing to fear
He is followed by laughter and sport,
But as soon as he is constrained,
He takes wing and does not return.
And does not return.
Love is a timid child.
Severity makes him afraid.
It is freedom that guides him
And shows him the way to a heart.
Maman, dites-moi
Maman, dites-moi ce qu'on sent quand
on aime,
Est-ce plaisir, est-ce tourment Je suis tout le jour dans une peine extreme Et la nuit je ne sais comment. Quel mal nous peut causer un amant Si quelqu'un pres de nous soupire, Que faut-il lui dire Un berger bien fait, Plus beau que l'amour Vint d'un air discret Me jurer l'autre jour qu'il m'aimait bien.
Je ne dis rien.
Je ne dis rien.
Mais s'il revient encore m'en dire autant,
Que faire alors, maman
Que faire alors, maman
C'est le berger le plus parfait du village,
Tout ce qu'il dit, tout ce qu'il fait
Est si se'duisant,
Que sans peine on s'engage.
Tant il a de charmes, d'atraits.
Quel mal nous peut causer amant
Si pres de nous son cceur soupire,
Que faut-il lui dire
Ce berger charmant,
Plus beau que l'amour
D'un air bien discret
M'a jur? l'autre jour qu'il m'aimait bien.
Je ne dis rien.
Je ne dis rien.
Mais s'il revient encore m'en dire autant,
Que faire alors, maman
Que faire alors, maman
Mother, tell me
Mother, tell me what people feel when
in love.
Is it pleasure or is it pain All day long I'm in utter torment And at night I do not know What harm a lover can cause us. If someone close to us sighs, What should we say to him A handsome shepherd, More comely than Cupid, Came with an unassuming air And swore to me the other day that he
loved me truly.
I said nothing.
I said nothing.
But if he comes back and says the same,
What shall I do then, mother
What shall I do then, mother
He's the most perfect shepherd in the village. All that he says, all that he does Is so appealing It is hard not to get involved. He has so many charms, so many attractions. What harm can a lover cause us If, close to us, his heart sighs, What should I say to him This charming shepherd, More comely than Cupid, With an unassuming air Swore to me the other day that he loved me truly.
I said nothing.
I said nothing.
But if he comes back and says the same,
What should I do then, mother
What should I do then, mother
IV
Aranjuez, ma pensee
Joaquin Rodrigo
Aranjuez, ma pensee
Aranjuez, mai est la saison des roses, Sous le soleil elles sont deja closes, Les magnolias en fleurs se penchent Sur les eaux claires du Tage Sur la nuit, ce pare deux fois centenaire
S'anime soudain chuchotements, Et bruissements,
Subtils aromes, qu'amene le vent Avec d'illustres fantomes.
Un peintre fameux avec sa palette magique,
A su capter d'immortelles images,
L'ombre d'un roi et d'une reine.
Or et argent, perles et diamants
Fete somptueuses,
Femmes belles et voluptueuses,
Fiers courtisans.
Guitares au loin,
Guitares et mandolines entre les buissons,
Joueurs de flute, chanteurs a l'unisson.
Mon amour je te cherche en vain parmi les
frondes
Ou tant de souvenirs vivaces abondent Des temps passes, des jours heureux. Nous avions vingt ans tous les deux.
Aranjuez, my thought
Aranjuez, May is the season of roses. In the sun they've already opened. The magnolias in flower bend Over the clear waters of the Tagus. And at night, this two-hundred-year-old
park
Suddenly becomes alive with whisperings And susurrations,
Subtle scents borne along on the wind With illustrious ghosts.
A famous painter with his magic palette Was able to capture these timeless images, The shadow of a king and queen, Gold and silver, pearls and diamonds, Sumptuous celebrations, Beautiful and voluptuous women, Proud courtiers, Guitars in the distance, Guitars and mandolins among the bushes, Flute players, menfolk singing in unison.
My love, I seek you in vain among the
leaves
Where so many lively memories abound, Memories of times past and the happy days When both of us were twenty.
V
Four French Folksongs
Traditional
Arr. Mityds Seiber
ReVeillez-vous
ReVeillez-vous, belle endormie, ReVeillez-vous, car it est jour. Mettez la tete a la fenetre, Vous entendrez parler de vous. La belle a mis le pied a terre,
Wake up
Wake up, fair sleeper,
Wake up, it is day.
Look out the window,
You'll hear people talking about you.
The fair maid set down her foot,
Tout doucement s'en est allde.
D'une main die ouvrit la porte:
"Entrez, galant, si vous m'aimez."
Mais la belle s'est endormie
Entre les bras de son amant,
Et celui-ci qui la regarde
En lui voyant ses yeux mourants,
Que les Voiles sont brillantes,
Et le soleil est dclatant,
Mais les beaux yeux de ma maitresse
Et sont encore le plus charmants.
J'ai descendu
J'ai descendu dans mon jardin, J'ai descendu dans mon jardin Pour y cueillir le romarin. Gentil coq'licot, mesdames, Gentil coq'licot nouveau, Gentil coq'licot mesdames, Gentil coq'licot nouveau.
J'n'en avais pas cueilli trois brins, J'n'en avais pas cueilli trois brins Qu'un rossignol vint sur ma main. Gentil coq'licot, etc.
II me dit trois mots en latin, II me dit trois mots en latin Que les hommes ne valent rien. Gentil coq'licot, etc.
Que les hommes ne valent rien, Que les hommes ne valent rien Et les garcons encore moins. Gentil coq'licot, etc
Des dames il ne me dit rien,
Des dames il ne me dit rien
Mais des d'moiselles beaucoup de bien.
Gentil coq'licot, etc
And went out very quietly.
With one hand she opened the door:
"Come in, good sir, if you love me."
But the fair maid fell asleep
In her lover's arms,
And he who looks at her,
Seeing her lifeless eyes, says:
"Though the stars are bright
And the sun beats down,
My mistress' beautiful eyes
Are yet more enchanting than they."
I went down to my garden
I went down to my garden, I went down to my garden To pick some rosemary. Pretty poppy, my ladies, Pretty new poppy, Pretty poppy my ladies, Pretty new poppy.
I'd not yet picked three sprigs,
I'd not yet picked three sprigs
When a nightingale landed on my hand.
Pretty poppy, etc.
He said three words in Latin, He siad three words in Latin That men are good for nothing. Pretty poppy, etc.
That men are good for nothing, That men are good for nothing And boys are even worse. Pretty poppy, etc.
About ladies he said nothing, About ladies he said nothing But lots of good things about girls. Pretty poppy, etc.
Le Rossignol
Rossignolet des bois, Rossignolet sauvage, Apprends-moi ton langage, Apprends-moi-z-a parler; Apprends-moi la maniere Comment il faut aimer, Comment if faut aimer.
"La belle, on dit partout que vous avez
des pommes, Des pommes, des reinettes, qui sont
vot'jardin; Permettez-moi, la belle, que j'y porte la
main, Que j'y porte la main."
"Non, je ne permets pas que Ton touche
a mes pommes.
Apportez-moi la lune, le soleil a la main. Vous toucherez les pommes qui sont
dans mon jardin, Qui sont dans mon jardin."
Marguerite, elle est malade
Marguerite, elle est malade, II lui faut le mddecin, Marguerite, elle est malade, II lui faut, (ho, ho) II lui faut, (ho, ho) II lui faut le m?decin.
Mdecin par sa visite Lui a deTendu le vin, Lui a de (he he) Lui a de, (he, he) Lui a deiendu le vin!
The Nightingale
Little nightingale of the woods,
Wild nightingale,
Teach me your language,
Teach me to speak,
Teach me the way
The way to love,
The way to love.
"Fair child, everyone says that
you've got some apples, Apples, pippins, that grow in your garden;
Allow me, fair child to place my hand on
them, To place my hand on them."
"No, I won't let anyone touch my
apples.
Bring me the moon and the sun, Only then will you touch the apples
in my garden, The apples that grow in my garden."
Marguerite is ill
Marguerite is ill,
They'll have to call the doctor.
Marguerite is ill,
They hey, hey -
They hey, hey -
They'll have to call the doctor.
The doctor on his visit said
She's not allowed to drink wine.
That she tee-hee --
That she tee-hee -
She's not allowed to drink wine.
"Me'decin, va t'en au diable, Puisque tu defends le vin! Me'decin, va t'en au diable, Puisque tu, (hu, hu) Puisque tu, (hu, hu) Puisque tu defends le vin!"
"J'en ai bu toute ma vie, J'en boirai jusqu'a la fin! J'en ai bu toute ma vie, J'en boirai, (he hi) J'en boirai, (he hi) J'en boirai jusqu'a la fin!"
"Doctor, go to the devil, For not allowing me wine! Doctor, got o the devil For pshaw, pshaw -For pshaw, pshaw -For not allowing me wine!"
"I've drunk it all my life,
So I'll drink it till my dying day!
I've drunk it all my life and
So ho, ho -
So ho, ho -
So I'll drink it till my dying day!"
VII
Five American Folksongs
Traditional
Red Rosey Bush
Wish I was a red rosey bush On the banks of the sea. Every time my true lover'd pass He'd pick a rose off of me.
Wish I lived in a lonesome holler Where the sun don't never shine. If-a your heart belongs to another, Then it can't never be mine.
We have met and we have parted, You are all this world to me. If-a you not love me darlin' In my grave I'd rather be.
Wish I had a golden box
To put my true love in.
I'd take him out and kiss him twicet
Then I'd put him back again.
Go 'way from my window
Go 'way from my window, Go 'way from my door, Go 'way from my bedside And bother me no more.
I'll give you back your letters,
I'll give you back your ring
But I'll ne'er forget my own true love
As long as songbirds sing.
Go tell all my brothers,
Tell all my sisters too,
That the reason why my heart is broke
Is on account of you.
Go on your way, be happy, Go on your way and rest, Remember, dear, that you're the one I truly did love best.
Go 'way from my window, Go 'way from my door, Go 'way from my bedside And bother me no more.
Black is the Color of My True Love's Hair
Black is the color of my true love's hair, His face is something wondrous fair. The clearest eyes and the strongest hands, I love the ground whereon he stands.
I love my love and well he knows, I love the ground whereon he goes. And still I hope the time will come When he and I will be as one.
Black is the color of my true love's hair, His face is something wondrous fair. The clearest eyes and the strongest hands, I love the ground whereon he stands.
I go to trouble some, to mourn and weep, But satisfied I ne'er could sleep. I'll write to you in a few little lines, I'll suffer death a thousand times.
Black is the color of my true love's hair, His face is something wondrous fair. The clearest eyes and the strongest hands, I love the ground whereon he stands.
The Nightingale
One mornin', one mornin', one mornin' in May I saw a fair couple a-makin' their way, And one was a lady, a lady so fair, The other a soldier, a brave volunteer.
Good mornin', good mornin', good mornin' to thee.
Oh where are you goin' my pretty lady
Oh, I am a-goin' to the banks of the sea,
To see waters a-glidin', hear the nightingales sing.
They hadn't been standin' a minute or two
When out of his knapsack a fiddle he drew,
And the tune that he played made the valleys all ring.
Made the waters go glidin', made the nightingales sing.
Brave soldier, kind soldier, will you marry me Oh no, pretty lady, that never can be. I've a true love in London who's waitin' for me. Two loves in the army's too many for me.
I'll go back to London and stay there a year And often I'll dream of you, my little dear, But if e'er I return 'twill be in the spring, To see waters a-glidin', hear the nightingales sing.
Wayfaring Stranger
I am a poor wayfaring stranger, A-travelin' through this world of woe Yet there's no sickness, toil or danger In that fair land to which I go.
'm goin' there to see my Father, 'm goin' there no more to roam, 'm only goin' over Jordan, 'm only goin' over home.
know dark clouds will gather o'er me know my way is rough and steep, Yet beauteous fields lie just before me Where God's redeemed their vigils keep.
I'm goin' there to see my Father, He said he'd meet me when I come, I'm only goin' over Jordan, I'm only eoin' over home.
St. Matthew Passion
J. S. Bach
Passio Domini nostri J.C.
Secundum Evangalistam Matthaeum
Poesia per Dominum Henrici
alias Picander
Passion of our Lord Jesus Christ
according to St. Matthew
Text by Christian Henrici
also known as Picander
J.S. Bach's original title page inscription
Sunday, April 16, 4:00PM Hill Auditorium
You are invited to join the UMS Choral Union in the singing of the Chorales, reprinted here, from J. S. Bach's St. Matthew Passion.
Tart I
1. Kommt, ihr Tochter, helft mir klagen UMS Choral Union
Ann Arbor Youth Chorale
2. Da Jesus diese Rede vollendet hatte Mr. Blochwitz (Evangelist)
Mr. Braun {Jesus)
3. Herzliebster Jesu, was hast du verbrochen Chorale
4a. Da versammleten sich die Hohenpriester
4b. Ja nicht auf das Fest
4c. Da nun Jesus war zu Bethanien
4d. Wozu dienet dieser Unrat
4e. Da das Jesus merkete
5. Recitative: Du lieber Heiland du
6. Aria: Buss und Reu
7. Da ging hin der Zwolfen einer
8. Aria: Blute nur, du liebes Herz 9a. Aber am ersten Tage der siissen Brot 9b. Wo willst du, dass wir dir bereiten 9c. Er sprach: Gehet hin in die Stadt
9d. Und sie wurden sehr betriibt
9e. Herr, bin ichs
10. Ich bins, ich sollte biissen
Mr. Blochwitz (Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Disciple Choir
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
Ms. Platts
Ms. Platts
Mr. Blochwitz (Evangelist)
Mr. Van Bochove (Judas)
Ms. Boog
Mr. Blochwitz (Evangelist)
Disciple Choir
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
Mr. Blochwitz (Evangelist)
Disciple Choir
Chorale
11. Er antwortete und sprach
12. Recitative: Wiewohl mein Herz
in Tranen schwimmt
13. Aria: Ich will dir mein Herze schenken
14. Und da sie den Lobgesang gesprochen hatten
15. Erkenne mich, mein Hiiter
Mr. Blochwitz (Evangelist) Mr. Braun (Jesus) Ms. Boog
Ms. Boog
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
Chorale
16. Petrus aber antwortete Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus) Mr. Stayer (Peter)
17. Ich will hier bei dir stehen Chorale
18. Da kam Jesus mit ihnen zu einem Hofe
19. Recitative: O Schmerz! hier zittert
das gequalte Herz
20. Aria: Ich will bei meinem Jesu wachen
21. Und ging hin ein wenig
22. Recitative: Der Heiland fallt
vor seinem Vater nieder
23. Aria: Gerne will ich mich bequemen
24. Und er kam zu seinen Jiingern
Mr. Blochwitz {Evangelist)
Mr. Braun {Jesus)
Mr. Tharp
UMS Choral Union
Mr. Tharp
UMS Choral Union
Mr. Blochwitz {Evangelist)
Mr. Braun (Jesus)
Mr. Brainerd
Mr. Brainerd
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
25. Was mein Gott will, das gscheh allzeit Chorale
26. Und er kam und fand sie aber schlafend
27a. Aria: So ist mein Jesus nun gefangen
27b. Sind Blitze, sind Donner
28. Und siehe, einer aus denen
29. O Mensch, bewein dein Siinde gross
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
Mr. Van Bochove (Judas)
Ms. Boog
Ms. Platts
UMS Choral Union
UMS Choral Union
Mr. Blochwitz (Evangelist)
Mr. Braun (Jesus)
UMS Choral Union
Ann Arbor Youth Chorale
Tart II
30. Aria: Ach, nun ist mein Jesus hin
31. Die aber Jesum gegriffen hatten
32. Mir hat die Welt triiglich gericht'
Ms. Platts
UMS Choral Union
Mr. Blochwitz (Evangelist)
Chorale
33. Und wiewohl viel falsche Zeugen herzutraten
34. Recitative: Mein Jesus schweigt zu falschen
Liigen stille
35. Aria: Geduld
36a. Und der Hohepriester antwortete
36b. Er ist des Todes schuldig
36c. Da speieten sie aus
36d. Weissage uns, Christe
37. Wer hat dich so geschlagen
Mr. Blochwitz (Evangelist) Mr. Burns (High Priest) Ms. Guyton (False Witness I) Mr. Etsweiler III
(False Witness II) Mr. Tharp
Mr. Tharp
Mr. Blochwitz (Evangelist)
Mr. Burns (High Priest)
Mr. Braun (Jesus)
UMS Choral Union
Mr. Blochwitz (Evangelist)
UMS Choral Union
Chorale
38a. Petrus aber sass draussen im Palast Mr. Blochwitz {Evangelist)
Ms. Christian (Maid I) Ms. Warren (Maid II) Mr. Stayer (Peter)
38b. Wahrlich, du bist auch einer von denen UMS Choral Union
38c. Da hub er an, sich zu verfluchen Mr. Blochwitz (Evangelist)
Mr. Stayer (Peter)
39. Aria: Erbarme dich Ms. Platts
40. Bin ich gleich von dir gewichen Chorale
41a. Des Morgens aber hielten alle Hohepriester
41b. Was gehet uns das an
41c. Und er warf die Silberlinge in den Tempel
42. Aria: Gebt mir meinen Jesum wieder
43. Sie hielten aber einen Rat
44. Befiehl du deine Wege
Mr. Blochwitz (Evangelist) Mr. Van Bochove (Judas) UMS Choral Union Mr. Blochwitz (Evangelist) UMS Choral Union Men
(Priests I and II) Mr. Brainerd
Mr. Blochwitz (Evangelist) Mr. Henrikson (Pilate) Mr. Braun (Jesus) Chorale
45a. Auf das Fest aber hatte der Landpfleger Mr. Blochwitz (Evangelist)
Gewohnheit Mr. Henrikson (Pilate)
Ms. Premin (Wife of Pilate) UMS Choral Union
45b. Lass ihn kreuzigen UMS Choral Union
46. Wie wunderbarlich ist doch diese Strafe Chorale
47. Der Landpfleger sagte
48. Recitative: Er hat uns alien wohlgetan
49. Aria: Aus Liebe will mein Heiland sterben 50a. Sie schrieen aber noch mehr
50b. Lass ihn kreuzigen
50c. Da aber Pilatus sahe
50d. Sein Blut komme iiber uns
50e. Da gab er ihnen Barrabam los
Mr. Blochwitz (Evangelist)
Mr. Henrikson (Pilate)
Ms. Boog
Ms. Boog
Mr. Blochwitz (Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Mr. Henrikson (Pilate)
UMS Choral Union
Mr. Blochwitz (Evangelist)
51. Recitative: Erbarm es Gott Ms. Platts
52. Aria: Konnen Tranen meiner Wangen Ms. Platts
53a. Da nahmen die Kriegsknechte Mr. Blochwitz (Evangelist)
53b. Gegriisset seist du, Jiidenkonig UMS Choral Union
53c. Und speieten ihn an Mr. Blochwitz (Evangelist)
54. O Haupt voll Blut und Wunden Chorale
55. Und da sie ihn verspottet hatten
56. Recitative: Ja freilich will in uns das Fleisch
und Blut
57. Aria: Komm, susses Kreuz 58a. Und da sie an die Statte kamen 58b. Der du den Tempel Gottes zerbrichst 58c. Desgleichen auch die Hohenpriester 58d. Andern hat er geholfen
58e. Desgleichen schmaheten ihn auch die Morder
59. Recitative: Ach Golgotha
60. Aria: Sehet, Jesus hat die Hand
61a. Und von der sechsten Stunde an
61b. Der rufet dem Elias
61c. Und bald lief einer unter ihnen
61d. Halt! lass sehen
61e. Aber Jesus schriee abermal
62. Wenn ich einmal soil scheiden
63a. Und siehe da, der Vorhang im Tempel zerriss
63b. Wahrlich, dieser ist Gottes Sohn gewesen
63c. Und es waren viel Weiber da
64. Recitative: Am Abend, da es kuhle war
65. Aria: Mache dich, mein Herze, rein 66a. Und Joseph nahm den Lieb
66b. Herr, wir haben gedacht
66c. Pilatus sprach zu ihnen
67. Recitative: Nun ist der Herr zur Ruh gebracht
68. Wir setzen uns mit Tranen nieder
Mr. Blochwitz {Evangelist) Mr. Brainerd
Mr. Brainerd
Mr. Blochwitz {Evangelist)
UMS Choral Union
Mr. Blochwitz {Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Ms. Platts
Ms. Platts
UMS Choral Union
Mr. Blochwitz {Evangelist)
Mr. Braun (Jesus)
UMS Choral Union
Mr. Blochwitz (Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Chorale
UMS Choral Union
Mr. Blochwitz (Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Mr. Brainerd
Mr. Brainerd
Mr. Blochwitz (Evangelist)
UMS Choral Union
Mr. Blochwitz (Evangelist)
Mr. Henrikson (Pilate)
Ms. Boog
Ms. Platts
Mr. Tharp
Mr. Brainerd
UMS Choral Union
UMS Choral Union