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UMS Concert Program, Saturday Mar. 22 To 30: University Musical Society: 2003 Winter - Saturday Mar. 22 To 30 --

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University Musical Society
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Season: 2003 Winter
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan
Winter 2003 Season
university musical society
University of Michigan Ann Arbor
UMS leadership
UMS services
2 Letters from the Presidents
4 Letter from the Chair
5 Corporate LeadersFoundations 14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
17 General Information
18 Tickets
19 Group Tickets
19 Discounted Student Tickets
19 Gift Certificates
21 The UMS Card
23 UMS History
25 UMS Choral Union
26 VenuesBurton Memorial Tower
29 The 2003 UMS Winter Season
35 Education & Audience Development
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
45 Advisory Committee
45 Sponsorship & Advertising
47 Internships & College Work-Study
47 Ushers
48 Support
56 UMS Advertisers
Front Cover. Signs in Rio (Robert HolmesCORBIS). Sweet Honey in Ihc Rock (Roland rrccnun). Eos Orchestra, RSCs Coriobniu (Manuel Harlaji); Bull Cover BUI I lones
and Omni Siring Quartet. Apolo Theater Sign (lee SniderCORBIS), Dive Holland (courteiy ECM Records); Inside Back Cover: Aaron Copland. Egon Sdiide's GM with Baiird Arm
(O Geoffrey C'JemcnlsCORHIS), Morimur CD cover
The University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are also wonderful opportunities
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars.
The current season marks the second resi?dency by the Royal Shakespeare Company of Stratford, England which performs three plays in March: The Merry Wives of Windsor, Coriolanus, and Salman Rushdie's Midnight's Children. UM and UMS co-presentations are not limited to theater, but also include per?formances by the Vienna Philharmonic, the Bolshoi Ballet, and a special event entitled "Evening at the Apollo," in which the best performing groups from Detroit and Ann Arbor are given a chance to compete for a slot at Harlem's Apollo Theater Amateur Night, where Ella Fitzgerald, Sarah Vaughn, Billie Holiday, and other legends of 20th-
century American music got their big breaks. As befits the educational missions of both the University and UMS, we should also recognize the co-sponsorship of educational program?ming involving, among others, the Abbey Theatre of Ireland, Grupo Corpo, Sekou Sundiata and creative co-sponsorship of presentations by the Hubbard Street Dance Company and the well-known female a cappella group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency.
Mary Sue Coleman,
President, University of Michigan
Thank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 2003 Winter Season events beginning on p. 29 of the glossy pages of this program
and on our website at
We welcome UM President Mary Sue Coleman to the southeast Michigan community and to membership on the UMS Board of Directors. The
university from which President Coleman came to Michigan has a distinguished record in its support of creative artists. During the Millennium season alone, while Dr. Coleman was president, the University of Iowa's Hancher Auditorium premiered over 20 new works in music, dance, and theater, all of them com?missioned by Hancher. This unprecedented level of support of creative artists by a uni?versity presenting organization captured the attention of the performing arts field world?wide and reinforced the idea that research in the performing arts is as important and as valid to a great university as is research in other fields. We thank Dr. Coleman and her predecessors Lee C. Bollinger and B. Joseph White for the extraordinary level of UM sup?port for the second residency of the Royal Shakespeare Company March 1-16 and of eight other UMS projects this season that offer special value to the University's mission of teaching, research, and service.
This season offers some special challenges for UMS with the closing of Hill Auditorium
for restoration and renovation. With your understanding and support, we know we will overcome these difficulties and have a successful season. As we await our reopening concert scheduled for January 2004, UMS is creating special opportunities for our patrons to see and hear world-renowned artists in outstanding venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss the February 27 return of the Vienna Philharmonic for the first time in the region since 1988. For many of our Detroit performances, UMS is offering transportation by luxury coach to our Ann Arbor patrons.
Yes, things are different this season. The UMS staff is determined to do everything we can to make this season run as smoothly as possible for you and our other patrons. Please let us know if you have any questions or problems. Call our ticket office at 734.764.2538, now led by Ticket Services Manager Nicole Paoletti, successor to Michael Gowing who retired last year. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
As I start my tenure as Chair of the Board of Directors of the University Musical Society, I am honored to serve an organization that brings rich and exciting cultural offerings to the University, to Ann Arbor, and to the larger community of southeastern Michigan. Where, outside of a major metropolis, could one have the opportunity to attend such a wide variety of events as Hubbard Street Dance, Medea, Tamango and Urban Tap, the Royal Shakespeare Company, and Bill T. Jones in a single academic year When my husband Ami and I first considered moving from Boston to the Midwest, UMS was an important part of our decision. The cultural life of Ann Arbor -it seemed to us then and continues to us now -is vital and accessible, equal only to major cities in the US. Many others share these same feelings. UMS remains one of our best recruiting tools, attracting people from all over the world to our community by bring?ing the most distinguished performing artists to our doorsteps. (Of course, this year, one of our "doorsteps" is temporarily fenced in and surrounded by a big hole!) Through UMS offerings we educate ourselves, enjoy ourselves and come to a fuller understanding of different cultures.
Of course, we could not possibly accomplish our goals of arts presen?tation, audience education and creation of new works without the generosity of UMS donors -individuals, corporations, philanthropic foundations, and government agencies. We are very grateful for the support they provide for our programs.
We look forward to continuing to present the best performing artists in the world to you each season, and we hope to see you at many perform?ances this winter.
Prue Rosenthal
Chair, UMS Board of Directors
John M. Rintamaki Group Vice President, Chief of Staff, Fora Motor Company
"At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to the rich?ness of life in our community by our sponsorship of the 20022003 UMS season. We look forward to many remarkable performances over the year. By your atten?dance you are joining with us in support of this vibrant organization. Thank you."
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."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
Carl Brauer
Owner, Brauer Investments
"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."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
David G. Loesel
President, T.M.L Ventures, Inc.
"Cafe Marie's support of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses which supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation "The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund "DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
'Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America "The University Musical Society is a leading presenter of artistic groups--music, dance and theater. Please support their efforts in the development of new works, which they combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to our com?munity for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
Robert J. Malek
Community President, National City Bank "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."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Doris Duke Charitable
FoundationJazzNet The Ford Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
$50,000 99,999 Community Foundation for
Southeastern Michigan The Whitney Fund
$10,000 49,999
Association of Performing Arts
PresentersArts Partners National Endowment for the Arts New England Foundation for the Arts
$1,000 9,999
Arts Midwest
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance
Molloy Foundation, Inc.
Montague Foundation
(of R. and P. Heydon) Sarns Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
$100 999
Erb Foundation
Maxine and Stuart Frankel Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Jan Barney Newman,
Secretary Erik H. Serr, Treasurer
Michael C. Allemang Janice Stevens Botsford William M. Broucek
Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis
Sally Stegeman DiCarlo Aaron P. Dworkin David Featherman Beverley B. Geltner Debbie Herbert Carl Herstein Toni Hoover
Alice Davis Irani Gloria James Kerry Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor Doug Rothwell
Judy Dow Rumelhart Maya Savarino Timothy P. Slottow Peter Sparling James C. Stanley B. Joseph White Clayton Wilhite Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul 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 Herbert Sloan Carol Shalita Smokier Jorge A. Solis Lois U. Stegeman Edward D. Surovell James L. Telfer Susan 13. Ullrich Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice
Chair Morrinc Maltzman,
Secretary Jeri Sawall, Treasurer
Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Judi Batay-Csorba Kathleen Benton
Mimi Bogdasarian Jennifer Boyce Mary Breakey (eannine Buchanan Victoria Buckler Laura Caplan Cheryl Cassidy Elly Rose Cooper Nita Cox Norma Davis Sally Stegeman DiCarlo Lori Director Michael Endres
Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Kathy Hentschel Anne Kloack Beth LaVoie Stephanie Lord Judy Mac Esther Martin Mary Matthews Ingrid Merikoski Jeanne Merlanti
Candice Mitchell Bob Morris Bonnie Paxton Danica Peterson Wendy Ransom Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Loretta Skewes Maryanne Telese Dody Viola Wendy Woods
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert, Director of
Special Projects Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Choral Union
Thomas Sheets,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Susan McClanahan,
Director Mary Dwyer, Manager of
Corporate Support Julaine LeDuc, Advisory
Committee and Events
Lisa Michiko Murray,
Manager of Foundation
and Government
Grants M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork, Direct
Mail and Gift
Processing Manager
EducationAudience Development
Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Educatioti
Manager Dichondra Johnson,
Manager Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing
Manager Gulshirin Dubash,
Public Relations
Manager Nicole Manvel,
Promotion Coordinator
Programming Production
Michael J. Kondziolka,
Director Emily Avers, Production
Administrative Director Jeffrey Beyersdorf,
Technical Coordinator Christine Field,
Production Assistant Jasper Gilbert, Technical
Director Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Ticket Office
Nicole Paoletti, Manager
Angela Clock, Assistant
Manager Sally A. Cushing,
Christine Field, Assistant Jennifer Graff, Associate Robert W. Hubbard,
Assistant Lakshmi Kilaru, Group
Sales Coordinator William P. Maddix,
Assistant Manager
Pearl Alexander Aubrey Alter Nicole Blair April Dawn Chisholm Kindra Coleman Carla Dirlikov Barbara Fleming Jamie Freedman Alexandra Jones Dawn Low Natalie Malotke Melissa McGivern Lauren Molina Claire Molloy Bridget Murphy Vincent Paviglianiti Nadia Pessoa Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Shirley Bartov Vineeta Bhandari Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
President Emeritus Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
Barrier-Free Entrances
For persons with disabilities, all venues 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 Detroit Opera House are equipped with infrared listening systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Rackham Auditorium, Trueblood Theatre, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Pease Auditorium, Detroit Opera House and Orchestra Hall please call the UMS Production Office at 734.764.8348.
Parking for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments 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.
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing ad?dress will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
ByPhone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171
By Internet WWW.limS.Org
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
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 Ticket 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 IMS membership.
The group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $50,000 on some of the most popular events in our season. Don't miss our current season, featuring world-renowned artists such as Sweet Honey in the Rock, the Vienna Philharmonic, Audra McDonald, Dave Holland, and many more, including our spe?cial Brazil Series, all at special group rates!
Imagine yourself surrounded by ten or more of your closest pals as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and call?ing Lakshmi Kilaru, Group Sales Coordinator, at 734.763.3100. Don't wait--rally your friends and reserve your seats today!
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than SI.8 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most impor?tant, impressive and influential artists from around the world. For the 0203 season, stu?dents may purchase discounted tickets to UMS events in three ways:
I. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off" the published price. This extremely popu?lar event draws hundreds of students even' fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front (S50 for 5 punches, S100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
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 eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a
housewarming present when new friends move to town.
In an effort to help reduce distracting noises and enhance the theater-going experience, Pfizer Inc is providing compJi-men tan Haifa. Menlho Lyptus cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Join the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
CyberSavers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
Through an uncompromising commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous and exciting live performing arts world. Over its 124 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a com?mitment to dynamic and creative visions of where the performing arts will take us in this 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 per?formed by the UMS Choral Union annually.
As a great number of Choral Union members 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 from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, 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 approximately 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, special project support from UM, and endowment income.
Throughout its 124-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 known for its definitive per?formances of large-scale works for chorus and orchestra. Nine years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for subscription performances of Stravinsky's Symphony of Psalms, John Adams's Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms's Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accept?ing invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire.
The Choral Union opened its current season with performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. In December the chorus presented its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work in Michigan Theater. The Choral Union's season will conclude in March with a pair of magnificent French choral works: Honegger's King David, accom?panied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by organist Janice Beck.
The Choral Union's 0102 season includ?ed performances of Messiah, Ives's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra and Brahms's Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union joined the DSO and Neeme Jarvi in three critically acclaimed performances of Beethoven's Missa Solemnis.
During the 20002001 season, the UMS Choral Union appeared in two series with the DSO. The season culminated in a performance of Berlioz's Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the UM School of Music Symphony Band in Hill Auditorium.
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical the?atre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion--a love of the choral art. For more information about membership in the UMS Choral Union, e-mail choralunion@ or call 734.763.8997.
With the 18-month closing of Hill Auditorium for renovations, the 0203 UMS season will include performances by the world's celebrated music, theater and dance artists in 11 venues in three cities: Ann Arbor, Ypsilanti and Detroit.
Ann Arbor Venues
Hill Auditorium
The 18-month, $38.6-million dollar reno?vation to Hill Auditorium began on May 13, 2002 under the direction of Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will update all of its infrastructure systems and restore much of the interior decor to its original splendor.
Exterior renovations will rebuild brick paving and stone retaining walls, restore the south entrance plaza, rework the west barrier-free ramp and loading dock, and improve the landscaping which surrounds the building.
Interior renovations will create additional restrooms, improve audience circulation by providing elevators, replace main-floor seating to increase patron comfort, introduce barrier-free seating and stage access, replace audio?visual systems, and completely replace all mechanical and electrical infrastructure sys?tems for heating, ventilation, and air condi?tioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity from 4,169 to 3,710.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
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 around $600,000 when it was first built. 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. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000, and balcony restorations have been completed.
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 inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed 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 dedi?cated 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 splen-
did three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Ypsilanti Venues
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
Built in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues
Detroit Opera House
The Detroit Opera House opened in April of 1996 following 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. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Orchestra Hall
Orchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paradise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, cap?ping a multi-million-dollar restoration effort.
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an $80-million development project on eight acres of land surrounding Orchestra Hall.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the second year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
of the University of Michigan -, -t "C ? 2003 Winter Season
Event Program Book Saturday, March 22 through Sunday, March 30, 2003
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditori?um. 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 prohibited 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, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, 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 edition. Thank you for your help.
UMS Choral Union 3
Saturday, March 22,8:00 pm Pease Auditorium Ypsilanti
Kodo 13
Monday, March 24, 8:00 pm Tuesday, March 25, 8:00 pm Wednesday, March 26, 8:00 pm Michigan Theater Ann Arbor
Susan Graham 17
Friday, March 28, 8:00 pm
Lydia Mendelssohn Theatre Ann Arbor
Takacs Quartet and Muzsikas 25
Saturday, March 29, 8:00 pm Rackham Auditorium Ann Arbor
Muzsikas 35
Sunday, March 30,4:00 pm Rackham Auditorium Ann Arbor
UMS Educational
UMS Educational Events through Sunday, March 30,2003.
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Bach Collegium JapanGabrieli Consort and PlayersThe Hilliard Ensemble, Morimur
Passions Study Club: "Symbols of Suffering" As part of the Mini-Bach Celebration, UMS hosts this special Study Club to examine the role of the Passions St. Matthew and St. John in both community and religious obser?vance, for Bach's Passions are considered the apex of this sacred musical tradition. Led by Ralph Williams (UM English and Religious Studies) and Steven Whiting (UM Musicology), this study club will examine the music, biblical texts,
metaphors, and settings of these highly dramatic and profoundly contemplative works.
This event is recommended for patrons attending Bach Colle?gium Japan (49), Gabrieli Consort and Players (419), and The Hilliard Ensemble (51).
Thursday, March 27, 7:00-9:00 pm, Michigan League, Koessler Room, 3rd Floor (911 N. University Ave., Ann Arbor)
A UMS collaboration with the UM School of Music Musicology Division and UM Department of English, Language and Literature.
Susan Graham
UMS Artist Interview:
Susan Graham
Ms. Graham will be interviewed by
Freda Herseth, UM Professor of
Voice and acclaimed mezzo-soprano.
Free and open to the public; seating
limited to capacity.
Saturday, March 29, 11:00 am, UM
School of Music, Stearns Building,
Cady Room, (2005 Baits, Ann Arbor)
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra
Jennifer Larson, Soprano Suzanne Hansen, Mezzo-soprano Michael Gallant, Tenor Steven Henrikson, Bass-baritone John Lawrence Henkel, Narrator Janice Beck, Organ Dessislava Nenova, Cello
Program Saturday Evening, March 22 at 8:00
Pease Auditorium Ypsilanti
Maurice Durufld Requiem, Op. 9
Ms. Beck Ms. Nenova
INTERMISSION Arthur Honegger King David
73rd Performance of the 124th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Thomas Sheets for his dedication and service to the UMS Choral Union throughout his tenure as Music Director and Conductor.
Large print programs are available upon request.
Requiem, Op. 9
Maurice Durufle
Born January 11, 1902 in Louviers,
Eure, France Died June 16, 1986 in Paris
Many famous French composers among them Cesar Franck, Camille Saint-Saens, Gabriel Faure and Olivier Messiaen were also organists, serving long tenures in various Parisian churches. Maurice Durufle was a distinguished representative of this tradition. He was appointed organist at Saint-?tienne-du-Mont, a landmark Gothic edifice just behind the Pantheon, in 1930 and remained there until his death 56 years later. Unlike the other composers mentioned, he was first and foremost an organist. He was a world-famous recitalist who made many extended concert tours in Europe and the US; he pub?lished only a handful of works for the organ, a few short choral and instrumental pieces and the Requiem which, written in 1947, became his best-known composition.
The Requiem was commissioned by Durufle's publisher. The commission coin?cided with the death of Durufle's father, to whose memory the work is dedicated.
In setting the words of the Latin Mass of the Dead, Durufle chose to model his work on the beautiful Requiem by Faure. Both works differ strikingly from the grand Requiem tradition of Mozart, Berlioz, or Verdi. They were planned on a much small?er scale, and are predominantly lyrical rather than dramatic in tone. Both com?posers omitted the movement that is the centerpiece of so many other settings, the Sequence "Dies irae," with its terrifying depiction of the Last Judgment. If the Requiem is performed as part of the liturgy, this movement has to be sung in Gregorian chant.
Durufle had been immersed in Gregorian chant since his student days, and it influenced his musical style to a great extent. Many of the Requiem's themes are actual chant melodies from the Middle Ages, embedded in an orchestral accompa?niment influenced by the impressionistic harmonies and colorful orchestration of Debussy and Ravel.
Although the tone of the Requiem is predominantly lyrical, there are a few dra?matic climaxes such as the setting of the words libera eas de ore leonis (deliver them from the lion's mouth) in the third move?ment. Similarly, near the end of the fourth-movement Sanctus, Durufle has the first sopranos and first tenors ascend to a high B-flat to be sung in triple forte, on the words in excelsis (on high).
In addition to the usual movements of the Requiem Mass (Introit "Requiem aeter-nam," Kyrie, Offertory "Domine Jesu Christe," Sanctus, Agnus Dei, Communion "Lux aeterna"), there are some movements that are not found in every requiem. One of these, "Pie Jesu," is a quiet song inserted between the Sanctus and the Agnus, that can be performed either by a soloist or the chorus. In the "Libera me," Durufle hinted at the Sequence he had not set, since this movement actually contains the words "Dies irae." In a gradual crescendo followed by a decrescendo, the day of the judgment is evoked in a flash, but then the music quickly subsides and the movement ends in a whisper. (Durufle seems to have been partial to quiet endings: every single movement of the Requiem clos?es pianissimo.)
The last movement, "In Paradisum," is a short antiphon (a type of chant originally used to frame psalm recitations). The melody is Gregorian, except at the very end, where the "angelic choir" mentioned in the text prompted a short homophonic section (all the choral parts are in the same rhythm). Durufle employed some fairly dissonant
20th-century harmonies here, but they have a tender "velvety" quality and almost sound like consonances. It is surely no coincidence that the last word of the piece is the same as the first: Requiem.
King David
Arthur Honegger
Born March 10, 1892 in Le Havre, France Died November 17, 1955 in Paris
Honegger's King David started life as a the?atrical piece, conceived with a very special venue and a rather unusual group of per?formers in mind. In 1903, Swiss playwright Rene Morax (1873-1963) had founded the Theatre du Jorat in the small village of Mezieres, near Lausanne, where profession?als enjoyed a close collaboration with mem?bers of the local community. In his 1947 biography of Honegger, Jose Bruyr gave a vivid description of the place:
A theater decidedly unlike any other. A sort of vast chalet, a kind of huge barn, smelling of resin, dried hay, fresh fruit, and on days when there was a performance, Sunday clothes, but retaining the rustic dignity of a shrine. A large stage descending in broad steps toward the orchestra pit. A foyer known as "The Deer Park," which is simply an airy meadow in which the snowy blossom of the apple trees in May matches the snow of the Fribourg Alps on the horizon.
After a forcible interruption during World War I, the theater reopened its doors in 1921. Morax conceived a special produc?tion to celebrate the event: a dramatized re?telling of the life of King David, with music and dance. As the composers Morax had previously worked with were unable to deliver a score on time, the playwright turned to the young and unknown Arthur Honegger, who had been recommended to him by the conductor Ernest Ansermet.
Honegger, though born and raised in France, came from a Swiss family, and maintained very close ties to the country of his origin. He was particularly attracted to the Biblical subject, and wrote the score in about two months. The premiere was a triumph. Many influential critics were present, and the young composer's reputation was made.
The Theatre du Jorat did not have a full symphony orchestra at its disposal. Honegger's instrumental forces were limited to 17 players: woodwinds, brass and percussion with a lone double bass as the only string instrument. But Honegger had received some friendly advice from his colleague Igor Stravinsky: "Go ahead as if you had chosen this ensem?ble..." Stravinsky was speaking from experi?ence, having turned similar limitations to his advantage in L'Histoire du soldat, written only a few years earlier. Incidentally, the per?formances of both L'Histoire and King David were sponsored by the same person, Werner Reinhart, the wealthy businessman and clar?inet player from Winterthur, Switzerland.
In 1923, when the opportunity presented itself, Honegger did expand the orchestration; the version with large orchestra was first performed in Winterthur and soon afterwards in Paris. It is in this form that the work became universally known; yet the original version, which you will hear tonight, pre?serves the atmosphere of popular theatre in which the work was born. It is a scoring that includes 2 flutes, oboe doubling English horn, 2 clarinets doubling bass clarinets, bassoon, horn, 2 trumpets, trombone, 1 cello (optional), 1 double bass, timpani, percussion (2 players), piano, harmonium, and celesta.
King David is a huge canvas made up of a succession of short episodes. Only one of its 27 numbers is allowed to reach the dimensions of a full symphonic movement this is the celebrated "Dance of the Ark" which, as No. 16, stands in the very center of the work. The rest of the score consists of relatively short vocal solos, choruses or
instrumental interludes, linked by narration, that evoke the events in David's life with just a few powerful brushstrokes.
Many of the movements are psalms -Rene Morax's modern paraphrases of Old Testament poetry. They form a single dra?matic arc from the simple shepherd's song at the beginning to the monumental Alleluia at the end.
After the orchestral introduction (No. 1), in which a sensuous oboe solo creates a lan?guid Oriental atmosphere, we hear Morax and Honegger's version of Psalm 23 ("The Lord is my shepherd"), a song of beguiling innocence (No. 2). This movement is sung by the mezzo-sopraono, but later, all three soloists will take turns impersonating David. Next comes a short but stirring psalm of praise (No. 3), scored for unison choir with a single line of instrumental accompaniment. Immediately afterwards, danger appears with the entrance of Goliath, whose defeat gives cause for a great song of victory and a triumphant procession (Nos. 4-5).
The next sequence (Nos. 6-11) focuses on David's relationship with King Saul. David sings a song for the deeply troubled King (No. 6) but then, as the King attempts to kill him, he flees into the desert where he reflects on his misfortune in a beautifully orchestrated soprano solo (No. 7) that has been called "one of the high points in the score."
An austere "Canticle of the Prophets" (No. 8), scored for low voices and low instruments, is followed by another psalm (No. 9) the first one to consist of two con?trasting halves, one being a despondent call for mercy, the other a song of praise, full of confidence. No. 10, an orchestral interlude, takes us to Saul's camp where the King and his soldiers are sleeping at night. The dark?ness of the night is indicated by a chromatic theme in a very low register, the military setting by a trumpet fanfare, which is repeated softer and softer in the course of the brief movement. The next psalm (No. 11)
was where Honegger began the compositional work it starts with a fanfare-like procla?mation and ends with a massive crescendo leading to a fortissimo climax on the words "my heart fears nothing."
In fact, the next scene (No. 12), where Saul commands the witch of Endor to conjure up the prophet Samuel's soul, is a test to anybody's courage. The movement is a single, mighty orchestral crescendo, with a tortuous chromatic melody and a constantly acceler?ating drumroll, at the end of which Samuel predicts Saul's death and the defeat of the Israelites at the hands of the Philistines. The latter's fierce triumphant march (No. 13) is followed by the longest movement so far, the "Lamentations of Gilboa" (No. 14). The wordless melismas (long, ornamental vocal lines) have a distinct Oriental flavor; the orchestration, which includes the special timbre of the celesta, intensifies the effect of this powerful threnody that closes Part I of Honegger's work.
Part II consists only of a brief, exuberant "Festive Canticle" and the "Dance before the Ark" (Nos. 15-16). Now anointed King of Israel, David has triumphed over his enemies and celebrates "with all his might" (2 Samuel 6:14). The Bible relates how David's dance deeply offended his wife Michal, daughter of Saul, and Honegger's music clearly shows why: the frenzied ostinatos and wild dis-sonaces have a certain primal, savage energy to them that can be positively frightening. But Honegger and Morax juxtapose this almost barbaric show of force with a prophecy that is strangely double-edged: God will make David's lineage great, but it is not David him?self who will build the Temple in Jerusalem. This prophecy is delivered by the soprano solo representing God's angel, in a recitative accompanied by a delicate orchestral texture and followed by a magnificent Alleluia that grows from a quiet and dignified beginning to a full choral-orchestral climax though the ending is once again soft and introspective.
In Part III we hear about David's love for Bathshebah, wife of Uriah a sinful love that nevertheless results in the birth of Solomon, the wise King and builder of the Temple. A warlike hymn of praise (No. 17), a lyrical love song accompanied by a solo horn (No. 18), and an austere psalm of pen?itence (No. 19) tell the Bathsheba story that, at first, leads to tragedy: God punishes the adulterous relationship by killing the first child Bathsheba has borne David. A second, more extensive penitential psalm (No. 20) quotes from a 16th-century Protestant melody by Claude Goudimel, and was described by Harry Halbreich in his seminal book on Honegger as "music of ashes, reek?ing of death." A melodic line full of pain is accompanied by inexorable chordal blocks in the orchestra. Yet hope is not dead: the next movement, based on Psalm 121 (No. 21), is a gentle tenor solo affirming David's faith in God. The song of Ephraim (No. 22) and the March of the Hebrews (No. 23), then, celebrate a new victory for the King. This time, however, the enemy who had to be defeated was none other than David's own rebellious son Absalom. Although the King is grieving, he gives thanks to God for His protection in the midst of danger; the Psalm (No. 24) unites music of great solace with a depiction of adversity in the highly chromatic middle section.
The next psalm (No. 25) shows David one last time as the victim of God's wrath. The King has ordered a census in Israel, which God interpreted as an act of self-aggrandizement and punished by sending a plague upon the land (2 Samuel 24). Brusque rhythms and violent dissonances bring a brief moment of high dramatic ten?sion, resolved by David's abdication and the coronation of Solomon as the new King of Israel. The coronation ceremony begins with a "Maestoso" orchestral movement in which the solo trumpet, playing extremely softly, plays the leading role. The final movement, "The Death of David" (No. 27), follows
without a break. In it we hear one of the work's most memorable melodies: "Dieu te dit: un jour viendra" (God says to you: the day will come). This melody, closely related to the German Lutheran chorale Wachet auf (Sleepers Awake), is a variant of the Alleluia theme from movement 16. The two themes are then combined, and the work ends on a jubilant note, holding out a promise of a splendid new era in the history of the world.
Program notes by Peter Laki.
Thomas Sheets is an accomplished conductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim. Mr. Sheets is Music Director and Conductor of the 150-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 Choral Union began performing on a regular basis with the Detroit
Symphony Orchestra. In the past nine sea?sons, he has prepared the Choral Union for dozens of perfor?mances given by the DSO under the direction of Neeme Jarvi, Jerzy Semkow, Gennady Rozhdestvensky, John
Adams and others. He also prepared the chorus for its first major recording, Tchaikovsky's The Snow Maiden, conducted by Maestro Jarvi with the DSO and released internationally by Chandos, Ltd.
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
mentor, 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 acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four con?tinents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
In the 200001 season, Mr. Sheets led the Jackson Chorale in performances of Kodaly's Missa brevis and Brahms's Liebeslieder Walzer, and conducted two performances of Messiah with the Ann Arbor Symphony Orchestra. In April 2001, he conducted the Choral Union, the Greater Lansing Symphony Orchestra, the Symphony Band of the UM School of Music and tenor Stanford Olsen in a performance of Berlioz's Requiem in Hill Auditorium. In the course of the 0102 season, he conducted performances of Messiah and Brahms's Ein deutsches Requiem with the Ann Arbor Symphony Orchestra, as well as Schubert's Symphony No. 8 and the Dvorak Mass in D with the Jackson Chorale and the Jackson Symphony Orchestra.
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 faculty appointments at several colleges and universities, most recently serving on the faculty of the Wayne State University School of Music. A church musician for 30 years, he conducts the 14-voice professional choir at St. John's Episcopal (Anglican) Church in Detroit. Dr. Sheets is a frequent guest conductor, 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.
Tonight marks Thomas Sheets's farewell per?formance as Music Director and Conductor of the 150-voice UMS Choral Union. During his 10-year tenure in this position, Dr. Sheets has conducted more than 35 public performances with the Choral Union and has prepared the chorus for performance with many of the world's premiere orchestral ensembles. Tonight's performance also marks Thomas Sheets's 26th appearance under UMS auspices.
Soprano Jennifer Larson enjoys a solo performing career that encom?passes regular appearances with many of the nation's finest orches?tras and chamber ensembles, a growing catalogue of recordings, and suc?cessful performances in major operatic roles. An international semi-finalist in the prestigious
Competizione deirOpera(2001), and national finalist in the 1997 Metropolitan Opera Council Auditions, Ms. Larson has received honors for her dramatic and vocal artistry as Violetta in Verdi's La
Traviata, Governess in Britten's The Turn of the Screw, and the title roles in Floyd's Susannah and Stravinsky's Le Rossignol with the University of Michigan Opera Theatre. She earned high praise for her creation of the title role in Detroit's world premiere of David Finko's opera Abraham and Hanna, and for her First Niece in Britten's Peter Grimes with Michigan Opera Theater.
In demand as a concert soloist, she has appeared with the Milwaukee, Detroit, Illinois, and Utah Symphony Orchestras and
the Mormon Tabernacle Choir, singing baroque to modern works under the batons of such noted conductors as Keith Lockhart, Andreas Delfs, David Lockington, John Mauceri, and the late Robert Shaw.
A favorite soloist with contemporary music organizations, Ms. Larson is featured on several recordings of original works, most recently on a 20-disc Milken Archive Sony recording of contemporary Jewish opera. Her recording of works for horn and voice, with William Barnewitz of the Milwaukee Symphony was released last year on the Summit label.
In addition to her stage work, Ms. Larson continues to fill invitations to visit university campuses throughout the US as a guest lecturerrecitalist.
Tonights performance marks Jennifer Larson's UMS debut.
Singing roles from Gluck's Orfeo in Orfeo ed Euridice to Krenek's Blandine in The Leap Over the Shadow, Suzanne Hansen enjoys a diverse repertory. Ms. Hansen has participated in The Nevada Opera, The South Georgia Opera, and the Montevallo Opera's Young Artist Programs, performing characters as Annina from La Traviata, The Wife from The Music Shop, as well as cover?ing Cherubino, from Le Nozze di Figaro and Maddalena, from Rigoletto. Recently, she performed the Mother in Amahl and the
Night Visitors in Ann
Arbor, Detroit, and Dearborn as well as Lola in F.O.T.O's Cavalleria Rusticana. Ms. Hansen has also served as alto soloist in Barber's Prayer of Kierkegaard, as well as Durufle's Requiem in St. Paul. After
understudying the mezzo solos in the Verdi Requiem, Ms. Hansen returned to perform Beethoven's Symphony No. 9 with the Dearborn Symphony. She looks forward to participating in Rossini's Petite Messe Solennelle in Dearborn later this spring. Ms. Hansen currently lives with her husband and their son in Cincinnati, Ohio.
Tonight's performance marks Suzanne Hansens UMS debut.
Tenor Michael Gallant recently graduated from the University of Michigan's School of Music with a Master of Music degree in Vocal Performance. During his tenure at UM he sang numerous roles in the school's opera productions, including Don Ramiro in Rossini's La Cenerentola and Fenton in Verdi's Falstaff. After two seasons with The Ohio Light Opera Company in Wooster,
Ohio, singing several lead roles, he apprenticed with Central City Opera Company in Chicago where he both sang and covered the role of Laurie in Mark Adamo's new opera Little Women. Mr. Gallant also covered Laurie for Opera
Omaha's 2002 season. Last year Michael was a finalist in Chicago Lyric Opera's Young Artist Competition as well as the first place winner in Michigan's own Friends of Opera competition. His oratorio work includes performances of Handel's Messiah and the Evangelist in Bach's St. John Passion.
Tonights performance marks Michael Gallant's UMS debut.
Appearances on television, radio, stage and frequent contemporary music premieres mark the versatility of bass-baritone Steven Henrikson in his career as a performer.
Mr. Henrikson regularly sings as oratorio soloist in standard repertoire works such as Beethoven's Symphony No. 9, Handel's Messiah, Haydn's Creation, Mozart's Requiem, Brahms's Ein deutsches Requiem with the Vancouver Symphony, CBC Chamber Orchestra, Kitchener-Waterloo Symphony, and the Detroit Symphony Orchestra.
Mr. Henrikson has sung opera with the Canadian Opera Company, Vancouver Opera, Manitoba
Opera Association (Winnipeg), and Michigan Opera Theatre and in Europe with Augsburg Opera, the Bavarian State Opera (Munich), the Bayreuth Wagner Festival in Germany, and the Innsbruck
Opera in Austria. Musical theater has pro?vided a further challenge with appearances as an original Toronto cast member in Phantom of the Opera. Recently Mr. Henrikson sang in Werther, marking tenor Andrea Bocelli's North American opera debut in Detroit.
In addition to his performance roles, Mr. Henrikson has proved an effective vocal teacher and clinician throughout his profes?sional career.
Tonight's performance marks Steven Henriksons second appearance under UMS auspices.
John Lawrence Henkel, narrator, has been regionally active for many years in opera, operetta, oratorio, and musical theater. A versatile singer-actor, he has appeared in numerous summer festivals, toured with repertory opera groups, and performed with many choral groups and symphony orches?tras.
He is critically acclaimed for his opera buffo characterizations and his definitive Tevye in Fiddler on
the Roof. He is the resident bass with the Piccolo Opera Company, appearing most recently as Colline in Puccini's La Boheme with the Grand Junction (Colorado) Symphony and as Don Alphonso (Cosi
fan Tutte) in Midland, Texas. He has appeared at The Ark in Ann Arbor with vocal duo "Just Friends Ensemble."
Tonight's performance marks John Lawrence Henkel's UMS debut.
Described by American Record Guide as "one of America's superior organists," Janice Beck is widely known for her recordings and solo recitals in both North America and Europe. While a Fulbright scholar in Paris, she presented the world premiere of Jean Langlais's American Suite. During recent tours of Europe, she presented concerts in Coventry Cathedral, Southwell Minster, Wesminster Abbey, St. David's Hall, Cardiff, Chester Cathedral and Lincoln Cathedral in the UK; Oliwa Cathedral, Gdansk, and the International Festival of Organ and Chamber Music, Szczecin in Poland; the Janacek
Conservatory of Music, Ostrava, Czech Republic; St. Elizabeth's Cathedral in Kosice, Slovakia; and the Matyas Church, Budapest, Hungary. She concertizes throughout North America and has presented recitals at First Congregational Church, Los Angeles; the Mormon Tabernacle, Salt Lake City; Christ Church Cathedral, Ottava; the Basilica of the Shrine of the Immaculate Conception in Washington, DC; Duke University Chapel, Durham and Trinity College Chapel, Hartford. In 2002 she played in the Basilica of St. Clotilde, Paris; the Cathedral of Our Lady, Antwerp; and at Rollins College for the Winter Park Bach Festival.
Her recordings include the six organ sonatas of Mendelssohn and the Vierne
Sixieme Symphonie, released by Arkay Records, works of Marcel Dupre, recorded in the Cathedral St. Etienne, Auxerre, for the French company REM Editions, and the works of Pamela Decker, recorded for Albany Records on
the organ of Hill Auditorium at the University of Michigan.
She is represented by Phillip Truckenbrod Concert Artists.
Tonight's performance marks Janice Beck's 18th appearance under UMS auspices. She last appeared under UMS auspices this past December in UMS's production of Handel's Messiah.
lease refer to UMS Annals, page 25 of the glossy pages of your program, for biographical information on the UMS Choral Union.
Tonight's performance marks the UMS Choral Union's 391st appearance under UMS auspices.
ow in its 74th season, the Greater Lansing Symphony Orchestra is
under the direction of Music Director and Conductor Gustav Meier, who will celebrate 25 years with the orchestra during the 200304 season. Under the exceptional artistic standards upheld by Maestro Gustav Meier since 1979, the GLSO has become mid-Michigan's sin?gular professional source of live orchestral music, presenting a broad range of musical and educational programs for audiences in five counties. The GLSO's home is the 2,400-seat Great Hall of the Wharton Center for Performing Arts, on the campus of Michigan State University. Its concerts are broadcast by NPR affiliate WKAR-FM Radio.
Tonight's performance marks the Greater Lansing Symphony Orchestra's second appear?ance under UMS auspices.
Kazunari Abe, Kenzo Abe, Sachiko Abe, Takeshi Arai, Yoshikazu Fujimoto, Yuichiro Funabashi, Tsubasa Hori, Kazuki Imagai, Mitsuru Ishizuka, Ryutaro Kaneko, Mitsunaga Matsuura, Yosuke Oda, Ayako Onizawa, Yoshie Sunahata, Masaru Tsuji, Kaoru Watanabe
Program Monday Evening, March 24 at 8:00
Tuesday Evening, March 25 at 8:00 Wednesday Evening, March 26 at 8:00 Michigan Theater Ann Arbor
74th, 75th and 76th Performances of the 124th Season
Ninth Annual World Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Monday evening's performance by Kodo is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Additional support provided by media sponsors WDET 101.9 FM and Metrotimes.
Special thanks to Michael Gould of the UM School of Music for his involvement in this residency.
Kodo appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
On Miyake Island, one of the seven volcanic islands of Izu south of Tokyo, there is a fes?tival centered on this very unique style of drumming. The drums are set very low to the ground, requiring the strenuous stance. Kodo's arrangement of this piece features the flamboyant technique and free improvi?sation of the performers.
Composed by Tetsuro Naito Idaten is a Buddhist guardian deity who protects children from illness, and is also said to be swift of foot. Set to a rhythm of the Shimejishi-drum and emboldened by the Okinawa-taiko's robust sound, this piece conjures Idaten himself, as he gallantly and swiftly runs across the stage, a massive Buddha that has come to life.
Composed by Kaoru Watanabe The Japanese character for Tsuki represents the moon, Yo means night, and No, field. Two bamboo flutes meet and produce simple intertwining melodies with subtle leaps and bends. Later, the ethereal sound of the Noh Kan (flute used in Noh theater) enters, bringing with it a strange harmony. This piece offers a picture of what sort of encoun?ters may occur at night on a moonlit field.
Composed by Roetsu Tosha The piece features four drummers playing Okedo-daiko (barrel) and Shime-daiko (roped), and one drummer on a lager Miya-daiko. The players pass the sounds from one to another, playing at a frenetic speed, mixing with traditional Japanese rhythms with more modern tempos, blending tense excitement with subtle humor. The title Chonlima (One Thousand League Horse) alludes to a stallion in a well-known Korean legend that possessed great speed and stamina.
Arranged by Hideyuki Saito This powerful arrangement features bam?boo flute improvisation and the sharp tone of the Chu-daiko interwoven with the back-beat of the traditional Edo Bayashi. Light and heat radiate from the flames. Sparks burst forth from the blinding blaze. From a roaring fire to a flickering flame, this song portrays fire's full range of expression. The use of the unique rounded bachi (drum sticks) for this piece was inspired by the Taiko tradition of Yumigahama in the Izu Peninsula.
Composed by Maki Ishii Weaving constant rhythmic patterns togeth?er with highly irregular ones, Monochrome develops spirally to an exciting climax. The listener might interpret the sounds as those of the changing of the seasons, or perhaps even the progression of life itself. The ambi?tious pace expands greatly the range and power of expression of the roped Shime-daiko. A companion piece, Moiwprism, writ?ten for performance with full orchestra, was premiered at Tanglewood by Kodo and the Boston Symphony under Seiji Ozawa.
Composed by Sachiko Abe, Ayako Onizawa
and Kodo
The flowers that paint the shades of the four seasons have always been regarded as objects of beauty, and as symbols of life and rebirth. Under a fully bloomed cherry blossom tree and with a drum in one hand, two girls cele?brate life in a floral dance.
Composed by Kaoru Watanabe This piece was inspired by the "Akita Mago Uta," a song said to have been sung by pack-horse riders to help them forget the loneliness of the mountain roads of Akita. Composed with the sentiments of these riders in mind, this piece features a single bamboo flute as it pays homage to the relationship between nature and man.
The story is told of a baby who upon hearing the thunderous sound of the O-daiko dropped off into a peaceful slumber. The powerful sounds emanating from the O-daiko possess a deep tranquility. The arrangement is simple. The drummer on one side beats out a basic rhythm while the main player improvises freely. When they become united with each other and the rhythm, both the drummers and the listeners find themselves wrapped within the embrace of the O-daiko. This Miya-daiko carved from a single tree, measures about four feet in diameter and weighs about 800 pounds.
Every year on December 3 in Saitama Prefecture, an all-night festival is held fea?turing richly decorated two-story Yatai (carts) pulled from village to village. The people hauling the Yatai are urged on by the pow?erful beating of the Taiko, concealed in the cramped first story of the carts. This gave rise to a technique of drumming while seated. Turning the two-ton fixed axle carts at inter?sections requires complex teamwork, and is accompanied by precise and intricate Tama-ire solos on the Shime-daiko.
Using the traditional Japanese drum, the taiko, Kodo continues to explore new musical directions, finding ever-expanding possibili?ties in these ancient instruments. The Japanese characters for Kodo convey two meanings: first, "heartbeat" the sound of the mother's heartbeat as felt in the womb; second, read in a different way, the word can mean "children of the drum" a reflection of Kodo's desire to play their drums with the simple and innocent heart of a child. Appearing as Kodo for the first time at the 1981 Berlin Festival, they have since given over 2,500 performances in 43 countries, becoming Japan's most widely-traveled and acclaimed performing arts group.
These performances mark Kodo's 12th, 13th and 14th appearances under UMS auspices. The ensemble made their UMS debut in October 1982.
Kodo Staff
Motofumi Yamaguchi, Artistic Director Takashi Akamine, Company Manager Leo Janks, Technical Director Masafumi Kazama, Stage Manager Katsuhiro Kumada, Lighting Designer Jun Akimoto, Assistant Manager Donnie Keeton, Assistant Manager
Please visit Kodo on the Internet at
, Mezzo-Soprano Malcolm Martineau, Piano
Friday Evening, March 28 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
Johannes Brahms
Zigeunerlieder, Op. 103
No. i: He, Zigeuner, greife in die Saiten ein!
No. 2: Hochgetiirmte Rimaflut
No. 3: Wifit ihr, wann mein Kindchen am allerschonsten ist
No. 4: Lieber Gott, du weiBt, wie oft bereut ich hab'
No. 5: Brauner Bursche fuhrt zum Tanze
No. 6: Roslein dreie in der Reihe bliihn so rot
No. 7: Kommt dir manchmal in den Sinn, mein siifies Lieb
No. 8: Rote Abendwolken ziehn am Firmament
Claude Debussy
Proses Lyriques
De Reve (Dreams) De Greve (On the Strand) De Fleurs (Flowers) De Soir (Evening)
Alban Berg
Sieben Friihe Lieder
Nacht (Night)
Schilflied (Reed song)
Die Nachtigall (The nightingale)
Traumgekront (Crowned in a dream)
Im Zimmer (In the chamber)
Liebesode (Ode to Love)
Sommertage (Summer days)
Francis Poulenc
Quatre poemes d'Apollinaire
L'Anguille (The Eel)
Carte-Postale (Postcard)
Avant le Cinema (Before the Cinema)
Andre Messager
Mo'ises Simons
French Operetta
Vois-tu, je m'en veux (from Les P'tites Michu) J'ai deux amants (from VAmour masque)
C'est ca la vie, c'est ca l'amour (from Tot c'est moi)
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.
77th Performance of the 124th Season
Eighth 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 by Susan Graham is sponsored by TIAA-CREF Individual and Institutional Services, Inc.
Special thanks to the UM School of Music Vocal Arts Department for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Susan Graham appears by arrangement with IMG Artists, New York, New York.
Large print programs are available upon request.
Tonight's concert will offer exception?al contrasts, allowing us to compare what was being created in Paris and Vienna at the turn of the last cen?tury. Naturally the new musical arrivals in these two cultural capitals had to reflect the immense differences in their national traditions, their writers, their national pastimes, and of course, the very languages themselves. But when one consid?ers that all of tonight's music and texts were written within a 40-year span, these inher?ent contrasts become even more remarkable in cities so proximate. After one has com?pared the German works with the French, it can also be interesting to compare the works which share a common language the styl?istic changes are astounding. One thing is certain, tonight's program contains a wealth of rich and colorful sounds, and can only further certify how crucial Paris and Vienna were to all that music-lovers take for grant?ed today, particularly to fans of the vocal repertoire.
Throughout his life, Johannes Brahms was passionate about folk music. One can easily find references, and indeed even direct quo?tations of folksongs throughout his over?tures, symphonies and piano works. It is in his vocal works, however, that this predilec?tion shows itself most obviously. Within this branch of his song literature, there are two distinct categories: real folksong melodies and lyrics for which Brahms created piano accompaniments; and secondly, composed or fake folksongs, where Brahms created the melody and accompaniment, using the texts of contemporary poets or traditional verse. The first category of this pair contains per?haps two-dozen folksongs that Brahms had published apart from his books of lieder. The composed folksongs are far more numerous, and are not segregated, but rather are sprinkled liberally throughout the
many volumes of artsongs the composer published. All of this is interesting, but what is most amazing is that one cannot discern any differences between the real and the composed songs when Brahms had folk music on his mind. So immersed was he in the atmosphere of the vernacular and so technically adept that his sophistication is made to hide itself from the listener almost completely.
From all this composed folk material, both vocal and instrumental, one can fur?ther divide the music into German and Hungarian origin. We are all very familiar with the many Hungarian Dances for piano, piano duet, and orchestra; moreover, indi?vidual movements scattered throughout Brahms's chamber music have definite Hungarian overtones one thinks of the Piano Quartet in g minor's last movement, marked alia Zingarese (gypsy-like) as one of the most obvious examples. We must remember that Brahms's adopted home, Vienna, was the doorway to the eastern lands of Europe from which gypsy tradition emanated. As the doorway, it offered any composer especially a folksong addict such as Brahms an excellent opportunity to amalgamate east and west. What Brahms began eventually became a genre unto itself in the hands of others who followed: think of the Czardas from Die Fledermaus; think of the many gypsy arias and duets in the operettas of Lehar and Kalmann, and even America's Victor Herbert.
In 1887 Brahms published his opus 103, a group of eleven gypsy songs for vocal quartet and piano. Today we hear these most often with choir rather than with four individual soloists. Two years later, at the request of one of the original singers, Brahms extracted eight of these to form a solo arrangement, which is what we hear tonight. All the songs in the cycle adhere to the elements of folksong and folk poetry: they are all strophic, with many additional
repeats within each verse; while they are challenging for both performers, they eschew any display of technical virtuosity which might seem "educated;" the eight songs deal only with personal and primary passions: love, hate, loss, joy, freedom. See if you can detect the sophisticated mind that created them Brahms would no doubt prefer you to fail in this attempt.
Music inspired by text plays an important role in the works of Claude Debussy. Words always seemed to ignite his musical imagi?nation. One definitely thinks of Poulenc and Britten as having a similar susceptibility to literary suggestion and invitation. In his Ariettes oubliees of 1888, Debussy placed evocative sentences alongside the titles of the songs, to "pre-inspire" the performers. Even non-vocal music can be included here as proof of this literary appetite, for at the conclusion of each prelude for solo piano (1910-12) one encounters a suggestive sen?tence which attempts to "post-inspire" or validate all we have just heard.
By 1890, with his career in high gear, the composer thought he might also become a writer and experimented toward this end. Given his deficient public school education, it is astonishing how advanced his literary sensibilities had become. And yet with the many songs he wrote as a young man, it is clear that verse of quality and taste inevitably inspired Debussy to his best efforts, while less elevated, more sentimental doggerel produced far less memorable music. Always willing to try the unusual and new, Debussy wrote his own texts for the cycle we hear this evening. (Only once more was the composer to do this, in his very last song written 25 years later.) One cannot find mention of these Proses Lyriques which does not immediately attack the quality of the texts. They are called "awkward, unwieldy, forced, cheap," and a host of other
critical epithets. True, Debussy was no Verlaine or Baudelaire, but one wonders how excellent the music would be should these vaunted writers experiment in this cross-discipline fashion. The fact is that with this opus, one cannot discern where text or music intersect or join, nor which inspired the other, so fused are these free verses with the composer's impressionist genius. Using four broad titles as touch?stones (Dreams, On the Strand, Flowers, Evening) allows Debussy to rhapsodize more freely than in any songs obeying another writer's rules and ideas.
The Proses Lyriques are among the longest and most extended of all of Debussy's works for voice and piano. Only the Baudelaire songs of a few years earlier approach them in this regard. The keyboard part is immense, constantly suggesting orchestral writing and demanding an extraordinary level of technical accomplishment from any pianist. Vocally, the songs do not respect any particular category now soprano, now contralto, always demanding in terms of dynamic and breath control. Debussy knew a great deal about singing, having accompa?nied voice lessons hour after hour as a young man. Now, at 32, he was building on this knowledge, but also expanding the singer's challenges in every direction. Few pages in his operas are as demanding as the most difficult pages we encounter tonight. And yet the overriding effect is not one of great technical difficulty or second-class poetry; rather we are immersed in a world of free association with no rules and no agenda save color and sonority...this is, after all, the impressionist's credo.
The Seven Early Songs (1905) of Alban Berg may be seen in two ways. The composer had written dozens of songs during the four years preceding this set, but he is clearly looking for a musical path, a tonal and
melodic game plan, a higher refinement of sentiment and expression. Meeting Schoenberg and coming immediately under his influence in 1904 put the young Berg in touch with his own voice. Thus these songs can be per?ceived as the successful finale to his youthful attempts. One easily hears influences of Schumann, Brahms and Wagner throughout the songs, as well as the orchestral type of keyboard accompaniment which was to become Strauss's signature. These are ripe, aria-sized lieder indeed, straining the romantic envelope to the fullest.
Others choose to view these songs as the beginning of a four-year journey toward abandoning traditional harmony and form. By 1909 with Berg's opus 2, tonality was no longer centralized, keyboard figurations were not always comfortable, and what con?stituted beauty for Berg had moved from the romantic to the expressionistic: a twisted, exaggerated view of the world. But here in 1905, we only sense the incipient need for change, the overripe romanticism that had to explode eventually.
It is most unusual for a composer to use diverse poets in creating a set of songs, but one detects little if any stylistic difference from poem to poem here. Moreover, Berg has created a musical scheme of tonal rela?tionship from song to song that provides more unity than a single poet could ever provide. The first pitch of a song seems inevitable, given how the previous song has concluded, potentially producing an unbro?ken chain of experiences for the listener. The seven songs were orchestrated 20 years later by the composer, but many prefer this original version as it lends the singer so much more rhythmic and expressive free?dom. Note also how these songs dwell in the middle of the voice's range, with only tem?porary excursions to very high or low. This was always Berg's (and Schoenberg's) favorite vocal sound, favored for warmth, clarity, and sensuality.
Unlike Berg, Francis Poulenc was happy to be a traditionalist. He remained comfortable with traditional tonality and modality all his life, and even referred to himself as "no innovator, but rather a borrower from oth?ers." This is overstating his complacency, or worse, underestimating his importance in the long line of French song. From his very first miniature songs of 1918, the young Poulenc showed a rare sensitivity to text and its potential. Unlike Schubert or his own compatriot, Debussy, mentioned earlier in these notes, Poulenc only chose poems of high literary quality and taste. Furthermore he was always preoccupied with finding what he considered the "correct" inflection for the French language, and at the same time marrying this to vocal lines which insist that we classify him among the greatest of melodists.
Apollinaire was the first of the poets to interest Poulenc, and fully a quarter of his 150 songs are to Apollinaire's texts. He began his writings as a symbolist poet, but later took up journalism and finally became an art critic. By the end of his life his writing had taken on the surrealist touches, and as a result he had a significant effect on the new?born Cubist movement in painting. Evenings with Picasso, Braque and Apollinaire were not uncommon. Poulenc has written, "when the subject is Paris, I am moved to tears and to music!" This was a feeling he had in common with Apollinaire, this pas?sion for all things Parisian. The composer knew just how to treat the lowbrow Parisian slang found throughout Apollinaire's works; he used such slang himself on a daily basis and reveled in it.
These four songs are from 1931 and are among the finest of Poulenc-Apollinaire col?laborations. The first song, "L'Anguille," is set as a valse-musette, an insignificant waltz-ditty unique to Paris. One can hear the little accordion playing in the bar of a slightly
seedy hotel and see slippered feet dancing. "Carte-Postale" is a melancholy lament about an unsuccessful seduction of the sister of a friend of the poet. It contains a hidden word game the initials of its five lines spell out the name Linda, the lady in question. The final two songs are marvelous examples of the ebullient and slightly raucous nature of so many of Poulenc songs. They extol Parisian hauteur on one hand and tell of an erotic adventure out of town in the other. Throughout the quartet of songs, one is cer?tain that the music's voice is unique to Poulenc: a superb blend of neoclassicism, surrealism and the music hall. The composer had found his voice and did little to change it for the rest of his life.
Ms. Graham's final group of songs this evening gives us a taste of French operetta, a genre which began with Offenbach and remained in vogue until the middle of the 20th century. Operetta's mixture of romance, comedy, sarcasm and political satire has always proved a successful formula for Paris. Trends have come and gone gypsy plots, Spanish intrigue, Sicilian domestic strife, abduction at the hands of pirates but the music's insouciant charm and wit remains, whatever the influence. Each musical comedy offers a bouquet of waltzes, foxtrots, two-steps and tangos, always elegant, always sophisticated.
Andre Messager, known as one of French operetta's most important champions, enjoyed the most remarkable of careers. Beginning as organist at St. Sulpice in Paris, he graduated to conductor at the fabled Folies Bergere. Finally he was appointed principal music director at the Opera comique and conducted the world premiere of Debussy's Pelleas and Melisande in 1902! Moi'ses Simons was born in Cuba, emigrated first to Spain and finally to Paris in the 1930s, where nothing was more chic than
the South American and Cuban rhythms which close tonight's concert. Each of these operetta arias is in a verse-refrain form, allowing the performers to vary their expres?sion as each strophe is repeated.
Program note by Martin Katz.
One of the most sought-after singers of our time, Susan Graham is cel?ebrated worldwide for the lustrous timbre of her voice, the enchanting allure of her stage presence, and the fervent emotion that infuses her varied repertoire. Ms. Graham's impassioned voice brims with feeling in the most demanding lyric mezzo-soprano roles. Her discography now features 15 titles; the most recent, a recording of French Operetta Arias, was named one of the best classical music albums of 2002 by Entertainment Weekly and won Editor's Choice Awards from Gramophone and Opera News magazines.
During the 200203 season, Ms. Graham will perform a nationwide recital tour, which culminates in her long-awaited recital debut at Carnegie Hall in April. In November, she made her debut with the Houston Grand Opera in the title role of Handel's Ariodante, and she returned to Houston at the end of January for her debut role in Lehar's Merry Widow. This year she also sang her signature piece, Les nuits d'ete, at Carnegie Hall with
the Orchestra of St. Luke's led by Donald Runnicles; she also appears in Berlioz's Romeo et Juliette with the Orchestre de Paris conducted by Lorin Maazel. She is scheduled to sing Dido &
Aeneas at the Theatre des Champs-Elyse'es opposite Ian Bostridge, which will be recorded by EMI.
Inspired by new works, Ms. Graham has created new characters in many world premieres. In September 2000, she created the role of Sister Helen Prejean in the San Francisco Opera's world-premiere production of Jake Heggie and Terrence McNally's Dead Man Walking, an operatic retelling of the Oscar-winning film. During the 199900 season, she won notice for her characterization of Jordan Baker in John Harbison's setting of The Great Gatsby at the Metropolitan Opera.
Her solo and opera recordings have been met with great critical acclaim. In addition to her recent CD of French Operetta Arias, she participated in the original cast recording of Dead Man Walking from the San Francisco Opera. In February 2001, she recorded tenero momento featuring arias of Gluck and Mozart, which was nominated for a 2001 Gramophone Magazine Award for "Best Recital Disc" and the recipient of the Grand Prix de l'Academie du disque (Prix Gabriel Faure). Her first Erato album, Songs of Ned Rorem, was released in April 2000 and topped several critics' lists for Best of 2000.
Born in Roswell, New Mexico, Susan Graham studied at Texas Tech University and the Manhattan School of Music. She is a winner of the Metropolitan Opera National Council Auditions and has been honored with the Schwabacher Award from the San Francisco Opera's Merola Program and a Career Grant from the Richard Tucker Foundation. In 2001, she was honored with the distinction of Chevalier of the Order of Arts and Letters by the French Government.
Tonight's recital marks Susan Graham's UMS debut.
Malcolm Martineau was born in Edinburgh, read Music at St. Catharine's College, Cambridge, and studied at the Royal College of Music. His teachers have included Geoffrey Parsons, Kendall Taylor and Joyce Rathbone. He has presented his own series at St. Johns Smith Square of the complete songs of Debussy and Poulenc and a Britten series at the Wigmore Hall which was broadcast by the BBC.
Malcolm Martineau has accompanied many of the world's leading singers including Dame Janet Baker, Thomas Allen, Sarah Walker, Delia Jones, Frederica von Stade, Barbara Bonney, Anne
Sofie von Otter, Ann Murray, Dame Felicity Lott, Angela Gheorghiu, Olaf Bar, Ian Bostridge, Simon Keenlyside and Bryn Terfel. Among many noted instrumen?talists he accompanies clarinettist Emma
Johnson. He has appeared throughout the United Kingdom, North America, Australia and at the Aix-enProvence, Vienna, Edinburgh, Hohenems and Salzburg Festivals. He has presented the complete lieder of Hugo Wolf at the 1998 Edinburgh Festival.
Recent recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel; Schubert and Strauss recitals with Simon Keenlyside; recital records with Angela Gheorghiu, Barbara Bonney and Delia Jones; the com?plete Faure songs with Sarah Walker and Tom Krause; the complete Britten folk songs for Hyperion; and the complete Beethoven folk songs for Deutsche Grammophon.
Tonight's recital marks Malcom Martineau's VMS debut.
Learning Express-Michigan
Takacs Quartet
Edward Dusinberre, Violin Karoly Schranz, Violin Roger Tapping, Viola Andras Fej?r, Cello
Ldszl6 Porteleki, Violin
Mihaly Sipos, Violin
Peter Eri, Viola, Percussion, Flute, Guitar
Daniel Hamar, Bass, Gordon
Marta Sebestyen, Vocals
Saturday Evening, March 29 at 8:00 Rackham Auditorium Ann Arbor
Beld Bartok
Kalotaszegi tancok (Dances of Kalotaszeg)
Pasztornotak hosszufurulyan (Long Flute Melodies)
Ms. Sebestyen
Kanasztancok ket hegedii (Swineherd's Dances) Ugros es friss (Transdanubian Ugros and Fast Csardas)
String Quartet No. 4
Movements performed by the Takdcs Quartet interspersed with
folkloric source material performed by members ofMuzsikds and Ms. Sebestyen
Moldvai ovestanc (Dance Music of Moldavia)
Prestissimo, con sordino
Fiijnak a fellegek (Peacock Melody)
Non troppo lento
Gyimesi tancok (Dances of Gyimes)
Allegretto pizzicato
Allegro molto
Zoltdn Koddly
String Quartet No. 2 (excerpt)
fragment of the second movement Takacs Quartet
Marosszeki Tancok (Dances of Marosszek) Ms. Sebestyen
Transcribed by Endre Gertler
Dudautanzas enekhangon (Vocal imitation of the bagpipes) Ms. Sebestyen
Bagpipes Bear Dance
Takacs Quartet, Mr. Hamar, Bass
Gyimesi medvetanc es hejsza (Bear dance from Gyimes)
Violin Duos
Interspersed with folklork source material
Toronali tancok (Dances of Torontal)
Violin Duo, No. 44
Pejparipam rezpatkoja (The shoe of my horse)
Violin Duo, No. 28
Jocul Barbatesc
Violin Duo, No. 32
Maramarosi tancok (Dances of Maramaros)
Pakular ballada (Ballad of the murdered shepherd) Ms. Sebestyen
Bota es Invertita (Bota and Invertita)
Transcribed by Arthur Willner
Rumanian Folk Dances
Folk dances performed by Takdcs Quartet interspersed with folkloric source material performed by members ofMuzsikds
Joe cu bata (Dance with Sticks) Braul (Waistband Dance) Pe Loc
Pe Loc (Stamping Dance) Buciumeana (Hornpipe Dance) Poarca Romaneasca (Rumanian Polka) Mehkereki tancok (Dances of Mehkerek) Maruntel (Quick Dance)
The audience is politely asked to withhold applause until the end of each musical set.
78th Performance of the 124th Season
40th 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 sponsored by Learning Express-Michigan.
The residency activities associated with this performance are presented with support from the University of Michigan as part of a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the performing arts.
Additional support provided by media sponsor WGTE 91.3 FM.
The Takacs Quartet appears by arrangement with CramerMarder Artists and records exclusively for DeccaLondon Records.
Muzsikas and Marta Sebestyen are represented in North America by Aaron Concert Artists, Inc. New York, NY.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and Fellow of The Guildhall School of Music and Drama in London.
Large print programs are available upon request.
I estern classical music has fre?quently drawn inspiration from folk and vernacular music. But for few composers did the music and dance of peasants figure as decisively as for Bela Bartok. Bartok was in fact a leading ethno-musicologist who spent a good part of his professional life collecting and analyzing peasant tunes. During his most intensive period of field research, before 1920, he transcribed nearly 10,000 of them. He once called this work "the happiest part of my life." The studios of famous musicians have typically displayed pictures and busts of other important musicians. Bartok's work?place typically contained a single portrait of Beethoven amid peasant embroideries, pot?tery, instruments, and furnishings includ?ing a Transylvanian table upon which were carved the words "Bela Bartdk."
Previous to the field research of Bartok and Zoltan Kodaly, "Hungarian" music had referred to what gypsy bands played in restaurants and cafes. The well-known Hungarian Dances of Brahms employ actual gypsy tunes; Haydn, Weber, Schubert, and Liszt were similarly influenced by what musicologists today term the style hongrois. In comparison, the rural music Bartok and Kodaly recorded at the source, tangy and untamed, had never reached Budapest or Vienna. Bartok wrote:
In the so-called cultured urban circles, the unbelievably rich treasure of folk music was entirely unknown. No one even suspected that this kind of music existed.... It lives untram-meled among the people themselves. If he allows himself to surrender to the impressions of living folk music, and if he can mirror the effect of these impressions in his works, then [the composer] has recorded a piece of life.
Bartok not only insisted on the signifi?cance of peasant music; he insisted that it be experienced first hand:
It was of the utmost consequence to us that we had to do our collecting ourselves, and did not make the acquaintance of our melodic materi?al in written or printed collections. The melodies of a written or printed collection are in essence dead materials.... One absolutely cannot penetrate into the real, throbbing life of this music by means of them. In order to really feel the vitality of this music, one must, so to speak, have lived it and this is only possible when one comes to know it through direct contact with the peasants.
The present program presents a rare oppor?tunity to hear what Bartok heard both as recorded by Bartok himself on primitive phonographs and as recreated by the contem?porary Hungarian folk ensemble Muzsikas. The Muzsikas musicians, an outgrowth of Hungary's "Dance House" movement of the 1970s, have themselves researched and col?lected source material in remote regions of Hungary. With their folk string, percussion, and wind instruments, and with the partici?pation of the singer Marta Sebestyen, they offer music as different from cafe strains as Bartok's dances and rhapsodies are different from those of Brahms and Liszt.
In a famous 1931 essay, Bartok defined various degrees of folksong appropriation, beginning with the simple practice of adding an accompaniment, a prelude and a postlude as in the folksong arrangements for voice and piano that he and Kodaly created. How close are, say, the well-known Bart6k Rumanian Folk Dances (1915) to their sources To hear Muzsikas's Peter ?ri play "Pe Loc" on a wooden flute a rendition based not on Bartok's composed "Pe Loc" but on the original tune as Bartok collected it in the village of Irgis in 1912 may or may not suggest an answer. The "mumbling" style of performance ?ri blows and sings at the same time creates an earthy, buzzing resonance no piano could simulate. Bartok's original piano version faithfully follows the tune. But (unlike Muzsikas) he adds an atmospheric bagpipe drone a simple
chordal accompaniment smeared by the sustaining pedal. In the string transcription, double stops in the cello recreate the bag?pipe effect.
Muzsikas's version of the first Rumanian Dance, the stick dance "Joe cu bata," is based on a 1912 Bartok field recording. Bartok's composed version is less stylized, more spe?cific: the pulsating accompaniment acquires relative harmonic sophistication; the tune is invested with details of articulation and dynamics. (Bartok's own performance of this dance, as recorded around 1920, inter?polates ornaments not to be found in his composed version but played by Muzsikas. In all six Rumanian Dances, Bartok's piano style if the piano roll can be trusted is notable for such "peasant" traits as firm rhythm, loud accompaniments, and the absence of all sentimentality and prettiness.)
At the furthest remove from the Rumanian Folk Dances is String Quartet No. 4 of 1928 a famous instance of Bartok the high modernist. What kind of relation?ship may be drawn between this singular chamber music, which virtually abandons traditional tonality, and the peasant strains Bartok adored
Attempting a closer look: Bartok's admiration for peasant life did not preclude idealization. He began his ethnological investigations as a Romantic nationalist who despised urban "frivolity" and modern-day capitalism. He hated the noises of the city. He admired individual peasants for their organic relationship to nature, feeling, and expression. But his prolonged exposure to actual peasant life, while vicarious, was often dank and muddy. His letters abound in complaints about foul weather, bad food, and unfriendly villagers (he at least once felt the need to arm himself with a knife). However, he also wrote from southern Transylvania, in 1907: "I feel so strange here...I come and go with frequent excite?ment.... If I wanted to analyze this feeling,
I might even claim it was happiness."
Hungarian scholars have analyzed this "happiness." A strangely withdrawn and fas?tidious man, Bart6k was in no way a candi?date to participate in a communal rural lifestyle. In the remote countryside he rather experienced an act of detachment, of with?drawal into himself in concert with nature. He typically traveled with cigar boxes filled with insects that he scrupulously and com?pulsively collected. He could study a beetle for an hour. The impressions thus absorbed
of people and customs, worms and moths
signified for Bartok "reality" and "truth." He pertinently wrote, in 1909 from Slovakia:
It is strange that in music the basis of motivation has so far been only enthusiasm, love, sorrow, or, at most, despair that is, only the so-called lofty feelings. It is only in our times that there is place for the painting of the feeling of vengeance, the grotesque, and the sarcastic. For this reason the music of today could be called realist because, unlike the idealism of the previous eras, it extends with honesty to all real human emotions without excluding any.
"Real human emotions" were emotions unrefined by city norms. Stylistically, too, peasant music was something true and pure: "It is impulsively created by a community of men who have had no schooling; it is as much a natural product as are the various forms of animal and vegetable life." As sound, as feeling, peasant music (like the performances of Muzsikas; unlike the "Hungarian music" more slickly purveyed by gypsy entertainers) was for better or worse unvarnished: never sentimental, never rhetorically inflated.
If these are mainly subjective impres?sions, the objective materials of folk music were, for Bartok, at least absorbing. Though he cherished the "spirit" of folk performers, he also confessed that the melodies could grow tiresome. His interest was scientific. He categorized modes and rhythms. He studied and adapted unconscious tech-
niques of construction -in particular, techniques of variation. Bartok's aversion to literal repetition and sequential progression correlates with the spontaneous transforma?tions of music improvised in performance.
These remarks furnish one listening context for String Quartet No. 4. In place of "lofty feelings," a savage intensity invades the concert room. The four instruments emit high-pitched screeches and grotesque, swooping slides. Some sounds the dense, dissonant multiple stops; the "snapped pizzicato" of the fourth movement, in which the string rebounds against the fingerboard, distinctly evoke the harsh twang and intona?tion of peasant fiddling. In the slow third movement the eye of the storm the cello eloquently sings something like a peasant song (in our performance, Muzsikas sugges?tively prefaces this music with the well-known pentatonic "Peacock" melody). For the drone accompaniment, Bartok asks for an alternation of non-vibrato and vibrato pianissimo chords. The "insect sounds" that intervene midway through are a typical example of Bartokian 'night music" a spectral genre, original to this composer, inspired by companionship with nature. The nervous twitter and whir of the eerie second movement is a more abstract variant of the same aural sensation.
Other folk connections are less obvious. The scholarly literature informs us that the raucous motoric rhythm of the finale derives from a Bulgarian dance. In the first movement, Bartok's tight interweaving of twoand three-note motivic cells may cor?relate with his admiration of peasant music as "the classical model of how to express an idea musically in the most concise form, with the greatest simplicity of means, with freshness and life, briefly yet completely and properly proportioned."
The tense, cramped compactness of this opening music is one premise of the work; the contemplative slow movement, amid
nature's stillness, loosens the discourse; the wildly throbbing finale, with its longer, more diatonic lines, is an unbuttoned variant of movement one ending with the same six-note exclamation: a physical release. Bartok himself furnished this useful blueprint:
The work is in five movements: the slow movement is the kernel of the work; the other movements are, as it were, arranged in layers around it. Movement four is a free variation of two, and one and five have the same thematic material; that is, around the kernel, metaphori?cally speaking, one and five are the outer, two and four the inner layers.
The miracle of this music is the interpene-tration of peasant and city, instinct and logic, the visceral and cerebral. Its folk roots never seem denatured by urban sophistications; its intellectual poise never seems violated by rustic energies.
Our program also features, with atten?dant folk sources, three of Bartok's 44 Duos for Two Violins, a Bartok "Bear Dance" and "Bagpipes" transcribed for strings, and a sampling of Kodaly.
Program note by Joseph Horowitz, Artistic Advisor to the TakdcsMuzsikds Collaboration
The Takacs Quartet is recognized as one of the world's great string quar?tets. Since its formation in 1975, the ensemble has appeared regularly in every major music capital and pres?tigious festival. The Quartet is based in Boulder, Colorado, where it has held a Residency at the University of Colorado since 1983. The Takacs is a Resident Quartet at the Aspen Festival and its members are also Visiting Fellows at the Guildhall School of Music and Drama in London.
The first volume of the Takacs Quartet's Beethoven Cycle (middle quartets) was released in May 2002. The recording recently
received the 2002 Grammy Award for "Best Chamber Music Album," the 2002 Gramophone "Chamber Music Recording of the Year" award, a Grammy nomination for "Best Classical Album," the Chamber Music AmericaWQXR Record Award, and the 2002 Japan Record Academy Award for Chamber Music. The Quartet's recording of the Bartok cycle received the Gramophone award for 1998, and in 1999 it was nominated for a Grammy. Volume two (early quartets) of the Beethoven cycle will be released this spring, and the final volume of the late quartets is scheduled to appear in early 2005.
During the current season, the Takacs Quartet performs over 40 concerts in the US and tours extensively in Europe. Special projects include a tour with the famed Hungarian gypsy ensemble Muzsikas; several concerts with pianist Garrick Ohlsson; and a Beethoven cycle presented by the Cleveland Orchestra. In the 0102 season, the Takacs toured in 15 cities, including Ann Arbor,
with former US Poet Laureate Robert Pinsky, culminating in a concert at Lincoln Center.
The Takacs Quartet was formed by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer in 1975, while all four were students at Budapest's Liszt Academy. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. Thereafter, the Takacs won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition (1978) and the Bratislava Competition (1981). The quartet made its North American debut tour in 1982.
Tonight's performance marks the Takacs Quartet's sixth appearance under UMS aus?pices and their second UMS performance this season, having appeared in October with pianist Garrick Ohlsson. The Quartet made their UMS debut in February 1984.
Muzsikas is the name given to musicians playing traditional folk music in villages in Hungary. The formation of the Muzsikas Ensemble coincided with the European revivalist movement of the 1970s and the interest not only in the tradition, but also the roots of culture.
The members of the group play and sing in the style of old Hungarian folk bands in which the solo violin and the song typically were accompanied with the three-stringed viola and contrabass. The musi?cians also play other instruments that enable them to produce an extensive range of excit?ing and unusual color tones. The music of Muzsikas can be characterized as the tradi?tional arrangements of authentic Hungarian folk music featuring a playing style typical of the best village musicians. It has nothing in common stylistically with the Gypsy-Hungarian style, but is rather the true folk music of Hungary, the most beautiful melodies of which were considered by Bela Bartok to be equal with the greatest works of music.
Their music appears in the film of the Oscar-winning director Costa Gavras's Music Box, having received the first prize in the Berlin film festival in 1989. Their famous song "Szerelem, szerekm" (Love, love), per?formed by Marta Sebestyen, can be heard in the Academy Award-winning film The English Patient.
Tonight's performance marks Muzsikds's UMS debut.
Marta Sebestyen is one of Hungary's most well-known singers and is one of the most authentic interpreters of Hungarian traditional music. Ms. Sebestyen grew up in Budapest, Hungary, surrounded by folk music. Her mother had studied with the great composer Zoltan Kodaly, taught music and collected folk songs. Marta learned to sing before she could talk. As a little child she was already performing in concerts, on television and on records. When she was still in school,
she began singing at Budapest "dance houses." At that time, the "dance house movement" was growing in Hungary as a form of protest against the uniformity of culture under the Communist government. Students and scholars, and musicians and dancers began exploring the roots of Hungarian culture, particularly that of Transylvania, a former Hungarian province which is now part of Romania. Transylvania is to Hungarian culture what the deep South is to America the truest repository of the country's folk soul. She is most frequently heard as a guest with Muzsikas but also performs with the group Vujicsics. She has won numerous awards including a Grammy Award in 1996 and the 1999 Golden Giraffe Awards from the Hungarian Recording Industry.
Tonight's performance marks Mdrta Sebestyen's UMS debut.
and the
Office of the Senior Vice Provost for Academic Affairs
Laszlo Porteleki, Violin
Mihaly Sipos, Violin
Peter ?ri, Viola, Percussion, Flute, Guitar
Daniel Hamar, Bass, Gardon
Marta Sebestyen, Vocals
and special guest
Kalman Balogh, Cimbalom
Program Sunday Afternoon, March 30 at 4:00
Rackham Auditorium Ann Arbor
Folk Music of Hungary
Szaszcsavasi tancok (Dances of Szaszcsavas) Pasztornotak hosszufurulyan (Long Flute Melodies)
Ms. Sebesty?n
Kanasztancok ket hegedii (Swineherd's Dances) Ugros es friss (Transdanubian Uugros and fast Csardas)
Azt gondoltam, es esik
Ms. Sebesty?n Gyimesi (Round dances of Gyimes)
Haneros Halelu
Szol a kakas mar (The rooster is crying) Ms. SebestySn
Szatmari zsido CSardasok (Jewish csardas for Szatmar)
Szombateste bucsuztatO (Farewell to Sabbath) Ms. Sebestyen
Haszid tancok (Hassid wedding dances) INTERMISSION
Szatmari csardasok, Kallai Kettii
(Csardas and Kettos from Kalla)
Pakular ballada (Ballad of the murdered shepherd) Ms. Sebestyen
Cimbalom improvizaco (Improvisation on cimbalom) Mez segi improvizacio (Improvisation) Vitalis balladaja (Ballad of an outlaw boy)
Moldvai Gergelytanc (My sweetheart, Gergel) Ms. Sebestyn
Marosszeki tancok (Dances of Marosszek) Ms. Sebestyen
Please refer to pages 32-33 in your program book for complete biographies on both Muzsikas and Marta Sebestyen.
79th Performance of the 124th Season
Ninth Annual World Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Additional support provided by media sponsor WDET 101.9 FM.
Muzsikas and Marta Sebesty?n are represented in North America by Aaron Concert Artists, Inc. New York, NY.
Large print programs are available upon request.
Please note that a com?plete listing of all UMS Educational activities will now be conveniently located within the concert program section of your program book. All Education activities are also posted on the UMS website at
'Forest Health Services presents the 124th Annual Choral Union series.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Michigan Theater
Sponsored by Pfizer.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane
Dance Company
with the
Chamber Music Society
of Lincoln Center
featuring the
Orion String Quartet
Saturday, January 11, 8 p.m. Sunday, January 12, 4 p.m. Power Center
The Saturday performance is sponsored
by Borders.
The Sunday performance is presented
with the generous support of Maurice
and Linda Binkow.
Related educational activities presented
with support from the Whitney Fund.
Funded in part by the National Dance
Project of the New England
Foundation for the Arts.
Media Sponsors WGTE 91.3 FM,
WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and conceived by Sekou Sundiata Friday, January 17, 8 p.m. Saturday, January 18, 8 p.m. Sunday, January 19, 2 p.m. Trueblood Theatre Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Joao Bosco, and Zelia
Friday, Nmil. 8 p.m.
Mil I j5
Sponspry Keybank and McDonald
Invcfcnls, Inc.
Media Sponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, 8 p.m. Michigan Theater Presented with support from lazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2,4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9,4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Sponsored by TIAA-CREF. Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra
The Celluloid Copland:
Copland's Music for the Movies
(performed with original films) Jonathan Sheffer, conductor Sunday, February 16,4 p.m. Michigan Theater Sponsored by the CFI Group. Media Sponsor WGTE 91.3 FM.
Vienna Philharmonic
Nikolaus Harnoncourt, conductor
Thursday, February 27, 8 p.m.
Detroit Opera House
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM.
Royal Shakespeare Company Shakespeare's The Merry Wives of Windsor Rachel Kavanaugh, director Saturday, March 1, 7:30 p.m. Wednesday, March 5, 7:30 p.m. Thursday, March 6, 1:30 p.m. Saturday, March 8, 7:30 p.m. Sunday, March 9, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Royal Shakespeare Company Shakespeare's Coriolanus
David Farr, director Sunday, March 2, 1:30 p.m. Tuesday, March 4, 7:30 p.m. Thursday, March 6, 7:30 p.m. Friday, March 7, 7:30 p.m. Saturday, March 8, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Royal Shakespeare Company Salman Rushdie's Midnights Children
A new dramatization by Salman Rushdie, Simon Reade and
Tim Supple
Wednesday, March 12, 7:30 p.m. Thursday, March 13, 7:30 p.m. Friday, March 14, 7:30 p.m. Saturday, March 15, 1:30 p.m.
& 7:30 p.m.
Sunday, March 16, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation.
Presented with support from the Ford Foundation.
Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Alban Berg Quartet
Monday, March 3, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor Media Sponsor WGTE 91.3 FM.
Stuttgart Chamber Orchestra
Dennis Russell Davies, conductor Catherine Malfitano, soprano Alexander Neander and Wolfram von Bodecker, mimes Thursday, March 6, 8 p.m. Michigan Theater Sponsored by DaimlerChrysler Corporation Fund.
This performance is co-presented with the University of Michigan. Media Sponsor WGTE 91.3 FM.
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra Thomas Sheets, conductor Janice Beck, organ Saturday, March 22, 8 p.m. Pease Auditorium
Monday, March 24, 8 p.m. Tuesday, March 25, 8 p.m. Wednesday, March 26, 8 p.m. Michigan Theater Media Sponsor WDET 101.9 FM and Metro Times.
Susan Graham, mezzo-soprano
Malcolm Martineau, piano Friday, March 28, 8 p.m. Lydia Mendelssohn Theatre Sponsored by TIAA-CREF.
Takacs Quartet and Muzsikas
Saturday, March 29, 8 p.m. Rackham Auditorium Sponsored by Learning Express-Michigan. Media Sponsor WGTE 91.3 FM.
Featuring Marta Sebestyen Sunday, March 30, 4 p.m. Rackham Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media Sponsor WDET 101.9 FM.
Evening at the Apollo
Friday, April 4, 8 p.m.
Michigan Theater
Saturday, April 5, 8 p.m.
Detroit Opera House
The Friday performance is sponsored
by Bank One.
The Saturday performance is
sponsored by Borders.
These performances are co-presented
with the University of Michigan and
presented in partnership with The Arts
League of Michigan.
Related educational activities presented
with support from the Whitney Fund.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Bach Collegium Japan Bach's St. Matthew Passion Masaaki Suzuki, conductor Wednesday, April 9, 7:30 p.m. St. Francis of Assisi Catholic Church
Matthias Goerne, baritone
Eric Schneider, piano Thursday, April 10, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City Bank.
Afro-Brazilian Dance Party
Saturday, April 12,9 p.m. EMU Convocation Center Co-sponsored by Sesi Lincoln Mercury Volvo Mazda.
Presented with support from the National Endowment for the Arts. Media Sponsors WEMU 89.1 FM and Metro Times.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director and piano
Peter Donovan, bass Dave Ratajczak, drums Friday, April 18, 8 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by JazzNet. Media Sponsor WEMU 89.1 FM.
Gabrieli Consort and
Bach's St. John Passion
Paul McCreesh, music director Saturday, April 19, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
The Hilliard Ensemble Morimur
Christoph Poppen, violin Thursday, May 1, 8 p.m. St. Francis of Assisi Catholic Church
The Ford Honors Program
f he FORD HONORS PROGRAM is made possible by a gener-1 _J j ous grant from the Ford Motor Company Fund and benefits V--S 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 tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Guitarist Christopher Parkening has been selected as the recipient of the 2003 UMS Distinguished Artist Award, which will be presented at the Ford Honors Program on Saturday, May 3. A Gala Dinner at the Power Center follows the performancetribute.
For more information, please call 734.647.8009.
Christopher Parkening
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make connections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0203 educational activities will be announced closer to each event. For more information about adult education or community events, please visit the website at, email, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, email, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features:
Tamango and Urban Tap Herbie Hancock Quartet
Sweet Honey in the Rock Sphinx Competition -free! Kodo
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email,
The Youth Education Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for Learning Across the Curriculum with Sean Layne
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak
Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email umsyouth@
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attending evening and weekend performances not offered through the First Acts Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collabo?rative efforts to make the arts integral to edu?cation and creates professional development opportunities for educators.
Family Programming
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances.
Celebrate in style with dinner and a show! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening. Add luxury accommodations to the package and make it a perfect getaway. UMS is pleased to announce its cooperative ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 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 UM 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!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
Vitosha Guest Haus
1917 Washtenaw Avenue
Call 734.741.4969 for reservations
Join proprietors Christian and Kei Constantinov
for afternoon tea, feather duvets and owls in
the rafters in their expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
old English style decor, 10 guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group discount rates and can accom?modate conferences, musical and performing arts events, weddings and family celebrations. Call to inquire about special package prices.
Visit and enjoy these fine area restaurants. Join us in thanking them for their generous support of UMS.
Arbor Brewing Co.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elaborate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 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 888.456.DINE 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,
D'Amato's Neighborhood Restaurant 102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contemporary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertainment.
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectator's "Best of Award of Excellence" 1991-2002.
326 South Main Street 888.456.DINE 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 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate 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,
347 South Main Street 888.456.DINE 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 888.456.DINE 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.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
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. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
Back by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.
UMS volunteers are an integral part of the success of our organi?zation. 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 edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
The 48-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved with this dynamic group, please call 734.936.6837 for more information.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? Cultivating clients
? Developing business-to-business relationships
Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
? Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444.
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, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's 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 over 400 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
This performance--and all of UMS's nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of November 1,2002. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS $25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS $10,000-$24,999
Carl and Isabelle Brauer Dr. Kathleen G. Charla Peter and Jill Corr Ronnie and Sheila Cresswell Hal and Ann Davis Jim and Millie Irwin Robert and Pearson Macek Tom and Debby McMullen Ann Meredith Charlotte McGeoch
VIRTUOSI $7,500-59,999
Maurice and Linda Binkow Beverley and Gerson Geltner Prudence and Amnon Rosenthal Edward and Natalie Surovell Marina and Robert Whitman
CONCERTMASTERS $5,000-57,499
Michael Allemang
Herb and Carol Amster
Douglas D. Crary
Dennis Dahlmann
David and Phyllis Herzig
Dr. Toni Hoover
Doug and Gay Lane
Leo and Kathy Legatski
Paul and Ruth McCracken
Gilbert Omenn and Martha Darling
Erik and Carol Serr
Loretta M. Skewes
Lois A. Theis
Ann and Clayton Wilhite
PRODUCERS S3,500-$4,999
Kathy Benton and Robert Brown
David and Pat Clyde
Katharine and Jon Cosovich
Michael and Sara Frank
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Charles H. Nave
Don and Judy Dow Rumelhart
Herbert Sloan
Lois and John Stegeman
LEADERS $2,500-$3,499
Bob and Martha Ause
Emily W. Bandera, M.D.
Bradford and Lydia Bates
Raymond and Janet Bernreuter
Barbara Everitt Bryant
Edward and Mary Cady
Maurice and Margo Cohen
Mr. Ralph Conger
Mr. Michael J. and Dr. Joan S. Crawford
Jack and Alice Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
John and Esther Floyd
Ilene H. Forsyth
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
Keld and Alice Irani
Robert and Gloria Kerry
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman
Judy and Roger Maugh
Neil and Suzanne McGinn
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino James and Nancy Stanley Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
PRINCIPALS $l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Michael and Marilyn Agin
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Essel and Menakka Bailey
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
L S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Bob and Sue Bonfield
Laurence and Grace Boxer
Dale and Nancy Briggs
Virginia Sory Brown
Jcannine and Robert Buchanan
Robert and Victoria Buckler
Lawrence and Valerie Bullen
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Thomas and Marilou Capo
Edwin and Judith Carlson
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Don and Belts Chisholm
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Carolyn and L. Thomas Conlin
Jim and Connie Cook
Jane Wilson Coon
Anne and Howard Cooper
Hugh and Elly Cooper
Paul N. Courant and Marta A. Manildi
Malcolm and Juanita Cox
George and Connie Cress
Kathleen Crispell and Thomas Porter
Judy and Bill Crookes
Peter and Susan Darrow
Pauline and Jay J. De Lay
Lloyd and Genie Dethloff
Lorenzo DiCarlo and
Sally Stegeman DiCarlo Macdonald and Carolin Dick Steve and Lori Director
Molly and Bill Dobson
Al Dodds
Elizabeth A. Doman
Dr. and Mrs. Theodore E. Dushane
Mr. and Mrs. John R. Edman
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Leonard and Madeline Eron
Bob and Chris Euritt
Claudine Farrand and Daniel Moerman
Eric Fearon and Kathy Cho
David and Jo-Anna Featherman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Ray and Patricia Fitzgerald
Bob and Sally Fleming
Otto and Lourdes E. Gago
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Charles and Rita Gelman
James and Cathie Gibson
William and Ruth Gilkey
Drs. Sid Gilman and Carol Barbour
Richard and Cheryl Ginsburg
Paul and Anne Glendon
Alvia G. Golden and
Carroll Smith-Rosenberg Elizabeth Needham Graham Frances Greer John and Helen Griffith Leslie and Mary Ellen Guinn Julian and Diane Hoff Robert M. and Joan F. Howe Dr. H. David and Dolores Humes Ann D. Hungerman Susan and Martin Hurwitz Stuart and Maureen Isaac Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman David and Sally Kennedy Connie and Tom Kinnear Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Samuel and Marilyn Krimm Amy Sheon and Marvin Krislov Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Laurie and Robert LaZcbnik Peter Lee and Clara Hwang Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans John and Cheryl MacKrell Sally .ind Bill Martin Natalie Matovinovic Chandler and Mary Matthews
Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Andy and Candice Mitchell Therese M. Molloy Lester and Jeanne Monts Grant W. Moore Alan and Sheila Morgan Julia S. Morris
Brian and Jacqueline Morton Cruse W. and Virginia Patton Moss Eva L. Mueller
Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman William and Deanna Newman Eulalie Nohrden Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul Margaret and Jack Petersen Elaine and Bertram Pitt Eleanor and Peter Pollack Donald H. Regan and Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Kenneth J. Robinson Dr. and Mrs. Irving Rose Mrs. Doris E. Rowan Dr. Nathaniel H. Rowe James and Adrienne Rudolph Craig and Jan Ruff Alan and Swanna Saltiel Dick and Norma Sarns Meeyung and Charles R. Schmitter Mrs. Richard C. Schneider Sue Schroeder
Steven R. and Jennifer L. Schwartz Dr. John J. M. Schwarz Janet and Michael Shatusky Helen and George Siedel Donald C. and Jean M. Smith Susan M. Smith Carol and Irving Smokier Curt and Gus Stager Gus and Andrea Stager David and Ann Staiger Michael and Jeannette Bittar Stern Victor and Marlene Stoefflcr Jan and Nub Turner Susan B. Ullrich
Joyce A. Urba and David J. Kinsella Michael L. Van Tassel Elly Wagner Florence S. Wagner John Wagner
Willes and Kathleen Weber Karl and Karen Wcick Robert O. and Darragh H. Wcisman Angela and Lyndon Welch Marcy and Scott Westerman
Principals, continual
Roy and JoAn Wetzel Harry C. White and Esther R.
Iris and Fred Whitehouse Max Wicha and
Sheila Crowley Marion T, Wirick and
lames N. Morgan Phyllis B. Wright Paul Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zclcnock
Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Anastasios Alcxiou Dr. and Mrs. David G. Anderson Dr. and Mrs. Rudi Ansbacher Elaine and Ralph Anthony Janet and Arnold AronofT Norman E. Barnctt Mason and Helen Barr Lois and David Baru Tom and ludith Batay-Csorba Dr. Wolfgang and Eva Bcrnhard John Blankley and
Maureen Foley Tom and Cathie Bloem Jane Bloom, MI) and
William L. Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Dr. Frances E. Bull H. D. Cameron
Douglas and Marilyn Campbell Bruce and Jean Carlson Jack and Wendy Carman Marshall and Janice Carr Carolyn M. Carty and
Thomas H. Haug Tsun and Siu Ying Chang Hubert and Ellen Cohen Clifford and Laura Craig Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Delia DiPictro and
Jack Wagoner, M.D. Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dr. and Mrs. John A. Faulkner Dcdc and Oscar Feldman Dr. and Mrs. James Fcrrara Sidney and Jean Fine Carol Finerman Clare M. Fingcrle Herschel Fink
John and Karen Fischer
Guillermo Flores
Mr. and Mrs. George W. Ford
Phyllis W. Foster
Betsy Foxman and
Michael Boehnke Dr. Ronald Frecdman Professor and
Mrs. David M. Gales Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Cozette Grabb
Dr. and Mrs. Lazar J. Greenfield David and Kay Gugala Carl and Julia Guldbcrg Don P. Hacfncr and
Cynthia J. Stewart Mr. and Mrs. FJmer F. Hamel Robert and lean Harris Paul I lyscn and Jeanne Harrison Clifford and Alice Hart Jcanninc and Gary Hayden Henry R and Lucia Heinold Mrs. W.A. Hiltner Louise Hodgson John H.and
Maurita Peterson Holland Drs. Linda Samuclson and
Joel Howell
Eileen and Saul Hymans John and Grctchcn Jackson Jean Jacobson Jim and Dale Jerome Emily Kennedy John Kennedy Dick and Pat King Hermine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Lee and Teddi Landes Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bcrnadctte Lintz E. Daniel and Kay Long Brigitte and Paul Maasscn Jeff Mason and Janet Netz Griff and Pat McDonald Marilyn J. Meeker Deanna Relyca and
Piotr Michalowski Jeanctte and Jack Miller Myrna and Newell Miller Cyril Moscow Edward C. Nelson Roy and Winnifrcd Pierce Stephen and Bcttina Pollock Rick Price
Wallace and Barbara Prince-Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Dr. Jeanne Raisler and Dr.
Jonathan Allen Cohn Rudolph and Sue Reicherl Molly Rcsnik and John Martin
II. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schabcrg and
Norma J. Amrhein Rosalie and David Schottcnfeld lulianne and Michael Shea Thomas and Valeric Yova Sheets Howard and Aliza Shcvrin Pat Shu re
Frances U. and Scott K. Simonds Irma I. Sklcnar Alenc and Stephanie Smith Lloyd and Ted St. Antoine lames Steward and Jay Pekala leffStoller Prof. Louis I. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundelson Bob and Betsy Teeter Elizabeth H. Thieme William C. Tyler Dr. Shcryl S. Ulin and
Dr. Lynn T. Schachingcr Dr. and Mrs. Samuel C. Ursu Charlotte Van Curler lack and Marilyn van dcr Velde Mary Vanden Belt Kate and Chris Vaughan loyce L. Watson and
Martin Warshaw Robin and Harvey Wax Phil and Nancy Wedemeyer Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Brymer Williams Max and Mary Wisgerhof Dean Karen Wolff I. D. and Joyce Woods David and April Wright
ASSOCIATES $250-$499
Jesus and
Benjamin Acosta-Hughes Tim and Leah Adams Dr. Dorit Adler Robert Ainsworth Mr. and Mrs. Roy I. Albert Helen and David Aminoff David and Katie Andrea Harlene and Henry Appclman leff and Deborah Ash Mr. and Mrs. Arthur I. Ashe, III Dwight T. Ashley Dan and Monica Atkins Eric M. and Nancy Aupperle Robert L. Baird
Laurence R. and Barbara K. Baker Lisa and Jim Baker Barbara and Daniel Balbach Paulett Banks John R. Bareham David and Monika Barcra Mrs. JereM. Bauer Gary Bcckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bcntz James A. Bergman and
Penelope Horn met Steven J. Bernstein Donald and Roberta Blitz David and Martha Bloom Dr. and Mrs. Bogdasarian Victoria C Botck and William
M. Edwards
Dr. and Mrs. Ralph Bozdl Paul and Anna Bradley [MM and Donald R. Brown Donald and Lela Bryant Margaret E. Bungc Susan and Oliver Cameron Margot Campos Jeannetlc and Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage Dr. Kyung and Young Cho Robert J. Cicrzniewski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Nan and Bill Conlin Merle and Mary Ann Crawford Peter C. and I.indy M. Cubba Richard J. Cunningham Marcia A. Dalbcy Ruth E. Datz Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis John and Jean Debbink Elena and Nicholas Dclbanco Richard and Sue Dempsey Elizabeth Dexter Jack and Claudia Dixon Judy and Steve Dobson Heather and Stuart Dombey Dr. Edward F. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhclaugh Craves Dumas Swati Dutta Dr. Alan S. Eiser fudge and Mrs. S. J. Eldcn Ethel and Sheldon Ellis Mr. John W. Etsweiler, 111 Mark and Karen Falahee Elly and Harvey Falil Dr. John W. Farah Drs. Michael and
Bonnie Fauman Joseph and Nancy Ferrario Karl and Sara Ficgcnschuh Dr. James F. Filgas Susan Filipiak
Swing Cily Dance Studio C. Peter and Bev A. Fischer Gerald B. and
Catherine L. Fischer Susan R. Fisher and
John W. Waidley Howard and Margaret Fox lason I. Fox Lynn A. Freeland Dr. Leon and Marcia Friedman Lela J. Fucstcr
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Deborah and Henry Gcrst Elmer G. Gilbert and
Lois M. Verbruggc Matthew and Debra Gildca James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo William and Sally Goshorn Enid M. Gosling Charles and lanct Goss Michael L. Gowing Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray I il.i and Bob Green Victoria Green and
Matthew Toschlog Sandra Gregerman Bill and Louise Gregory Raymond and Daphne M. Grew Mark and Susan Griffin Werner H. Crilk Dick and Marion Gross Bob and Jane Grovcr Susan and John Halloran Claribel Halstead Yoshiko Hamano Tom Hammond Lourdcs S. Bastos Hanscn David B. and Colleen M. Hanson Martin D. and Connie D. Harris Nina E. Hauscr
Kenneth and Jeanne Hcininger Paula B. Hencken and
George C. Collins J. Lawrence and
Jacqueline Stearns Henkcl Dr. and Mrs. Keith S. Henley Kathy and Kudi Hentschel Mr. and Mrs. William B. Holmes lohn I. Hrilzjr. Line H. Hughes Dr. and Mrs. Ralph M. Hulett Jewel F. Hunter Marilyn C. Hunting Thomas and Kathryn Huntzickcr Robert B. Ingling Margaret and Eugene Ingram Kent and Mary lohnson Paul and Olga Johnson Stephen Josephson and SaJly Fink Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kasclemas Professor Martin E. Katz Julie and Phil Kearney James A. Kelly and
M.u i.mi C. Noland John B. and Joanne Kennard Frank and Patricia Kennedy Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Mrs. Rhca K. Kish Paul and Dana Kissncr lames and Jane Kister Dr. David B. and Heidi
Casttcman Klein Steve and Shira Klein
Laura Klern
Anne Kloack
Thomas and Ruth Knot)
Dr. and Mrs. Melvyn Kombkin
Bert and Geraldine Kruse
David W. Kuehn and
Lisa A. Tedesco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Ncal and Anne Laurance Beth and George UVoie David Lebenbom Cyril and Ruth Ledcr John and Theresa Lee Frank I,egacki and Alicia Torres Mm and Cathy Leonard Sue Leong Carolyn I-cpard Myron and Bobbie Levine Donald f. and
Carolyn Dana Lewis Ken and Jane Lieberthal Leons and Vija Licpa Rod and Robin Little Vi-Cheng and Hsi-Ven Liu loan I (twrmtcin and
Jonathan Trobe Ronald lxnghofcr and
Norma McKenna Richard and Stephanie Lord Charles and Judy Lucas Carl J. Lutkehaus Pamela J. MacKintosh Virginia Manic Latika Mangrulkar Mclvin and Jean Manis Nancy and Philip Margolis Ann W. Martin and Russ Larson James E. and Barbara Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallister Margaret E. McCarthy Ernest and Adele McCanis Margaret and
Harris McClamroch Michael G. McGuire lames Mclnlosh Nancy A. and Robert E. Meader Gcrlinda S. Melchiori Ph.D. Ingrid Merikoski Bernicc and Herman Mcrte George R. and Brigitte Merz Henry D. Mcsser Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edith O. Moller, r. Jane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault Alexander Nelson James G. Nelson and
Kathcrine M. Johnson Laura Nitzberg and
Thomas Carli
Arthur and Lynn Nusbaum Dr. Nicole Obrcgon
Robert and Elizabeth Oneal Constance and David Osier Marysia Ostafin and
George Smillie Drs. Sujit and Uma Pandit William and Hedda Panzer Nancy K. Paul Wade and Carol Peacock ah: and Joe Pearson Karen Tyler Perry Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Frank and Sharon PignanclN Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prcscott l.arry and Ann Preuss J. Thomas and Kathleen Pustcll Lcland and
Elizabeth Quackenbush Patricia Randlc and James ling Inn and leva Rasmusscn Anthony L Reflells and
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or supporting
Please Note
Suzanne Hansen is unable to perform as mezzo-soprano soloist in tonight's program due to illness. Wendy Bloom has graciously accepted the part of mezzo-soprano soloist in Maurice Durufle"s Requiem and Deanna Relyea has graciously accepted the part of mezzo-soprano soloist in Arthur Honneger's King David.
endy Bloom, mezzo-soprano, has a diverse performance background that includes opera, oratorio, early music, chamber music, recital and Broadway. She holds a Bachelor of Music Education degree from Cornell College and a Master of Fine Arts degree in Vocal Performance from the University of Iowa.
Among her frequent appearances as a soloist have been performances with the Ann Arbor Symphony, Saginaw Choral Society, Baltimore Choral Arts Society, Detroit Symphony, Flint Symphony, Lansing Symphony, Grand Rapids Symphony, Toledo Symphony, and Ann Arbor Cantata Singers. Ms. Bloom spent three years performing and touring with the baroque orchestra, Ars Musica. She also has performed with the Michigan Bach Festival, Cayman Island International Music Festival, and the Classical Music Seminar of Eisenstadt, Austria.
Ms. Bloom has displayed her acting talents in numerous operatic and musical-theater roles, including the title roles in Carmen, Kiss Me, Kate, and The Mystery of Edwin Drood. Most recently she appeared as Stella Deems in Stephen Sondheim's Follies. She has toured with Michigan Opera Theater's outreach program for three years, and has appeared frequently with Ann Arbor Civic Theatre and with Peninsula Productions. She is one of the founders of the School for the Performing Arts Ann Arbor, where she has conducted voice classes for younger singers, mini-classes for beginning adults, and classes for vocal teachers.
Ms. Bloom is currently teaching vocal pedagogy, conducting, music history and 20th-century Arts at Concordia University. She serves as musical director and conductor for the spring musicals and conducts the Concordia Chorale. She has been touring and performing with the vocal quartet, SATB (formerly the Great Lakes Quartet) for 11 years in addition to her other engagements as a soloist.
Tonight's performance marks Wendy Bloom's UMS debut.
Mezzo-soprano Deanna Relyea has a unique musical background. Her early performance experience was as a duo-pianist with her brother, Canadian bass-baritone Gary Relyea, and later as a vocal coach-accompanist. As a singer, she has appeared many times with Gary Relyea, his son John, bass-baritone, and'his wife Anna, soprano, in the family ensemble Voices-Relyea. They have appeared on concert series and in festivals throughout Canada, including the Classical Cabaret Series and the Operetta Theatre Association in Toronto, the Elora Festival, and the Chan Center Series in Vancouver. Additionally, Ms. Relyea has appeared as a solo artist in several Chamber Music Series and Festivals including the Port Townsend Chamber Music Festival in Washington and the Ottawa International Chamber Music Festival.
Ms. Relyea has performed the major oratorio repertoire with choral societies and symphony orchestras in the Great Lakes Region and Canada. She opened the 200203 Ann Arbor Symphony season as soloist along with her brother Gary in a performance of Beethoven's Symphony No. 9. Several composers have written works for Ms. Relyea, the most recent of which, Mail, by composer Enid Sutherland and set to an extended poem by McArthur Award-winning poet Alice Fulton, will premiere in October 2003 on the campus of the University of Michigan. Known as a singeractress, Ms. Relyea also performs frequently as a cabaret artist on concert series, with symphony orchestras, and in theater and musical-theater productions. In January 2003 she performed the role of Solange in a Follies In Concert (Stephen Sondheim) production that featured many original Broadway cast members at the Michigan Theater in Ann Arbor. Ms. Relyea is Founder Director of Ann Arbor's Kerrytown Concert House, which is currently in its 19th season.
Tonight's performance marks Deanna Relyea's UMS debut
UMS Choral Union
Requiem, Op. 9
Maurice Durufli
Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis. Te decet hymnus Deus in Sion, Et tibi redetur votuni in Jerusalem.
Exaudi orationem meam, Ad te omnis caro veniet.
2. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
3. Domine Jesu Christe Domine Jesu Christe, Rex gloriae, Libera animas omnium Fidelium defunctorum
De poenis inferni et de profundo lacu:
Libera eas de ore leonis, Ne absorbeat eas tartarus, Ne cadant in obscurum: Sed signifer sanctus Michael Repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti Et semini ejus.
Baritone Solo
Hostias et preces tibi,
Domine, laudis offerimus:
Tu suscipe pro animabus Hits
Quarum hodie memoriam facimus:
Fac eas, Domine,
De morte transire ad vitam
Quam olim Abrahae promisisti
Et semini ejus.
Grant them rest eternal, Lord, And let perpetual light shine upon them. A hymn befits Thee, O God in Zion, And to Thee a vow shall be fulfilled in
Jerusalem. Hear my prayer, For unto Thee all flesh shall come.
Lord have mercy. Christ have mercy. Lord have mercy.
Lord Jesus Christ, King of glory,
Liberate the souls of all
The faithful departed
From the pains of hell and from the
deep pit;
Deliver them from the lion's mouth; Let not hell swallow them up, Let them not fall into darkness: But let Michael, the holy standard-bearer, Bring them into the holy light, Which once Thou promised to Abraham And to his seed.
Sacrifices and prayers of praise,
O Lord, we offer to Thee.
Receive them, Lord, on behalf of those souls
We commemorate this day.
Grant them, O Lord,
To pass from death unto life,
Which once Thou promised to Abraham And to his seed.
4. Sanctus
Sanctus, sanctus, sanctus,
Dominus Deus sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domine.
Hosanna in excelsis.
5. Pie Jesu
Pie Jesu Domine Dona eis requiem.
6. Agnus Dei Agnus Dei,
Qui tollis peccata mundi, Dona eis requiem.
Agnus Dei,
Qui tollis peccata mundi,
Dona eis requiem sempiternam.
7. Lux Aeterna
Lux aeterna luceat eis, Domine, Cum sanctis tuis in aeternum:
Quia pius es.
Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis.
8. Libera Me, Domine
Libera me, Domine, de morte aeterna, In die ilia tremenda Quando coeli movendi sunt et terra, Dum veneris judicare saeculum per ignem.
Baritone Solo
Tremens factus sum ego, et timeo
Dum discussio venerit
Atque ventura ira.
Quando coeli movendi sunt et terra.
Dies ilia, dies irae,
Calamitatis et miseriae,
Dies magna et amara valde,
Dum veneris judicare saeculum per ignem.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
Libera me, Domine....
Holy, holy, holy,
Lord God of hosts.
Heaven and earth are full of Thy glory.
Hosanna in the highest.
Blessed is he who cometh in the name
of the Lord Hosanna in the highest.
Merciful Lord Jesus, Grant them rest.
Lamb of God,
Who takest away the sin of the world,
Grant them rest.
Lamb of God,
Who takest away the sin of the world,
Grant them rest everlasting.
May light eternal shine upon them, O Lord, In the company of Thy saints forever and
ever: For Thou art merciful.
Rest eternal grant to them, O Lord, And let perpetual light shine upon them.
Deliver me, O Lord, from death eternal, On that day of terror
When the heavens and earth shall be moved, When Thou shalt come to judge the world by fire.
I am seized by trembling, and I fear The time when judgment shall come And I fear the coming wrath.
When the heavens and earth shall be moved.
O that day, day of wrath,
Of calamity and misery,
Momentous day, and exceedingly bitter,
When you come to judge the world by fire.
Grant them rest eternal, Lord,
And let perpetual light shine upon them.
Deliver me, O Lord....
9. In Paradisum
In paradisum deducant te angeli,
In tuo adventu suscipiant te martyres,
Et per ducant te in Civitatem sanctam Jerusalem.
Chorus angelorum te suscipiat, Et cum Lazaro quondam paupere Aeternam habeas requiem.
King David
Arthur Honegger
Original French text by Rene Morax English version by Edward Agate, with
further adaptation by Thomas Sheets
and I. Lawrence Henkel
1. Introduction
And in those days the Lord spoke to the people of Israel through the mouth of the prophet.
And God turned against Saul and spoke to Samuel saying, "Arise, fill thine horn with oil, and go, I will send thee to Jesse the Beth-lehemite: for I have provided me a King among his sons." And Samuel did that which the Lord spoke and came to Bethlehem, where David was tending his flocks and singing in the fields.
Into paradise may you be led by angels, Upon your arrival may the martyrs
welcome you,
And may they lead you into The holy city Jerusalem.
May a choir of angels welcome you, And with Lazarus, who once was poor, May you have eternal rest.
2. The Song of David, the Shepherd Mr. Tucker
God shall be my shepherd kind, He will shield me from the wind, Lead his lamb to pastures cool, Guide me to the quiet pool.
He shall be my staff and rod, Restore my spirit again, E'en the darkest vale I trod Shall not be traveled in pain.
He will keep me from alarm, Though the lightning play around, Save me with his mighty arm, The while, shelter me from harm. Comfort have I found.
And Jesse made seven of his sons pass before Samuel. And Samuel said: "The Lord has not chosen these." And Samuel said unto Jesse: "Are here all thy children" And he said: "There remains yet the youngest, and, behold, he keeps the sheep." And Samuel said: "Send and fetch him." And he sent and brought him in. And the Lord said: "Arise, anoint him: for this is he." Then Samuel took the horn of oil and anointed him in the midst of his brethren and the Spirit of the Lord came upon David from that day forward.
3. Psalm Chorus
All praise to him, the Lord of glory,
The everlasting God, my helper;
He has avenged all my wrongs and my woes,
And by his hand my people are made safe.
When hordes of heathen arose up
against me,
By his right hand I felt myself sustained. His thunder pealed on the heads of the foe, Who in their malice sought my end.
3a. Fanfare
And Saul and the men of Israel were gathered together and set in battle array against the Philistines. And there went out a champion from the camp of the Philistines, named Goliath of Gath, of great height and substance.
Entry of Goliath
And he mocked the Israelites. And David hastened to meet him and smote him in the forehead with a stone from his sling and he fell upon his face to the earth.
4. Song of Victory Chorus
David is great! The Philistines o'erthrown, Chosen of God is he, Succour'd and unafraid. Saul hath slain his thousands, And ten thousands David!
5. March Orchestra Chorus
Song of Victory (repeated)
And Saul was afraid of David because the Lord was with him and was departed from Saul.
And Michal, Saul's daughter, loved David. And Saul said. "I will give him her that she may be a snare to him, and that the hand of the Philistines may be against him." And the evil spirit was upon Saul as he sat in his house with his javelin in his hand: and David played to him on his harp. And Saul sought to smite David even to the wall with the javelin: and David eluded him so that the spear struck into the wall. And David escaped and fled.
6. Psalm
Mr. Gallant
In the Lord I put my faith, I put my trust.
How say ye unto my soul:
"Flee like any bird unto the mountain"
For behold, evil is here,
And the wicked bend their bow,
That they may privily shoot them
That are clean and upright.
And David bade farewell to Jonathan, the son of Saul, whose soul was knit with the soul of David, for Jonathan loved him as his brother. And he came to Samuel and told him all that Saul had done. And he and Samuel went and dwelt at Naioth, with the prophets in the wilderness; and the flower of his youth withered in the desert.
7. Psalm Ms. Larson
O had I wings like a dove,
Then I would fly away and be at rest.
Save in the tomb alone, is there no comfort
Is there no balm to heal this woe of mine
Where shall I find for my head some safe
Morning and eve I pray and cry aloud. The storm of my distress blows like the
tempest, Bearing to God my cries and my prayer.
And Saul sent messengers to take David. And they came to Naioth in Ramah. But when they beheld the company of the prophets speaking in strange tongues and Samuel standing as appointed over them, the Spirit of God was upon the messengers of Saul, and they stripped their garments, and fell on the ground, and they prophesied.
8. Song of the Prophets
Man that is born of woman lives but a
little while. Whichever way he turn, the path he must
Is heavy to his feet. He cometh up like grass, which in time
shall be mowed down. He fleeth like a shadow, And the place that once he knew remembers
him no more.
And David fled from Naioth in Ramah and came and said before Jonathan, "What have I done What is mine iniquity And what is my sin before thy father, that he seeketh my life" And David abode in the wilderness in strongholds and remained in a mountain in the wilderness of Ziph. And now Samuel died and the soul of David languished.
9. Psalm
Mr. Gallant
Pity me, Lord, for I am weak!
A refuge and harbor I seek;
My weary head thy wings shall cover.
When will the endless night be over
Pity me, Lord, for I am weak!
My heart upraise
To hymn thy bounty all my days!
0 sun, arise to lead me on,
That with my harp, the victory won,
1 may return to sing a joyful song of praise!
And the Lord delivered Saul into the hands of David. So David and Abishai came to the people by night: and, behold, Saul lay sleeping with a spear at his bolster and a cruse of water at his head. Then said Abishai to David, "God hath delivered thy enemy into thy hands this day: now, therefore, let me smite him." And David said to Abishai, "Destroy him not, for who can stretch forth his hand against the Lord's anointed and be guiltless" So David took the spear and the cruse of water from Saul's bolster; and they stole away, and no man saw it, nor knew it; neither awaked: because a deep sleep from the Lord was fallen upon them.
10. Saul's Camp Orchestra Narrator
And David said in his heart, I shall now perish one day by the hand of Saul. There is nothing for me than that I should escape into the land of the Philistines. So David arose and went over, and his men with him. In those days the Philistines again gathered their forces for war against Israel. And when the armies of Saul turned to fight the Philistines, they found themselves sore distressed in the moun?tain gorges. Despairing, the people of Israel called upon the Lord:
11. Psalm
God the Lord shall be my light and my
What cause have I to fear God the Lord shall be my strength in
tribulation; His help is ever near.
Though wicked enemies came, My foes, who my flesh would fain devour, Bright sword and lance they might claim, Yet they stumble and fall upon that hour.
E'en though an host against me would rise,
I shall not be afraid;
From field of war, the Lord will hear my
cries, And their arm shall be stayed.
And when Saul saw the host of the
Philistines in Shunem, he was afraid, and his heart greatly trembled. And when Saul inquired of the Lord, the Lord answered him not, neither by dreams, nor by prophets. And his servants said to him: "Behold, there is a woman that hath a familiar spirit at Endor." And Saul dis?guised himself, and came to the woman by night: and said, "Divine for me and bring up whomever I shall name unto thee." Then said the woman: "Whom shall I bring up" And he said: "Bring me up Samuel."
12. Incantation of the Witch of Endor Ms. Hansen The Witch: Om! Om!
By fire, by water, by speech and by wind, By sight and by sound, break thy chains, Burst the locks which bind thee!
Appear! Appear! Tis time! I call thee from Sheol's darkness. Return and enter into the temple of nine doors!
Give thy blood! Let the breath of life return
to thy nostrils; Come from the depths of the earth.
The fire burns me, the fire below!
It enters into me, it searches the marrow of
my bones; It pierces me, like a sharp sword.
0 why hast thou deceived me for thou art Saul.
Be not afraid: for what sawest thou
The Witch:
1 saw gods ascending out of the earth.
What form is he of
The Witch:
An old man conieth up; and he is covered with a mantle.
Samuel! Samuel!
The Shade of Samuel:
Why hast thou troubled me, to bring me from the grave Thou obeyest not the voice of the Lord. Therefore, this day will the Lord deliver Israel into the hand of the Philistines, and tomorrow you and your sons shall be with me.
Now the Philistines fought against Israel and the men of Israel fled before them and fell down slain. And the battle went sore against Saul and the archers hit him. And Saul fell with his sons on Mount Gilboa.
13. March of the Philistines
And an Amalekite brought to David the crown and bracelet of Saul. Then David took hold on his clothes, and rent them, for still was Saul his King and Jonathan as his brother; and he mourned and wept for the people of the Lord and the house of Israel because they were fallen by the sword.
14. Lament of Gilboa
Ms. Larson and Chorus Ah! Weep for Saul.
Narrator (as David)
Gilboa! Gilboa! Thy glory, O Israel, is slain upon thy high places! How are the mighty fallen! Tell it not in Gath, publish it not in the streets of Ashkelon, lest the daughters of the Philistines rejoice--lest the enemies of the Lord exult. Ye moun?tains of Gilboa, let there be no dew nor rain upon you nor upsurging of the deep, for there the shield of the mighty was defiled, even the shield of Saul, as though he had not been anointed with oil. From the blood of the slain, from the fat of the mighty, the bow of Jonathan turned not back and the sword of Saul returned not empty. Saul and Jonathan, beloved and lovely! In life and death they were not divided. They were swifter than eagles, they were stronger than lions. Ye daugh?ters of Israel, weep over Saul, who clothed you daintily in scarlet, who put ornaments of gold upon your apparel. Now are the mighty fallen in the midst of battle! Jonathan lies slain upon the high places. I am distressed for thee, my broth?er Jonathan; your love to me was won?derful--passing the love of women. How are the mighty fallen and the weapons of war perished!
Part II
Then all the tribes of Israel came to David at Hebron, and said, "Behold, we are your bone and flesh. In times past, when Saul was King over us, it was you that led out and brought in Israel; and the Lord said to you, "You shall be shepherd of my people Israel, and you shall be Prince over Israel." And David made a covenant with them at Hebron before the Lord, and they anointed David King over Israel.
15. Song of the Daughters of Israel
Ms. Larson and Chorus
Sister, oh sing thy song!
Never hath God forsaken us,
E'en in captivity
Or in adversity.
Chosen of him above,
On us now lights his love.
God the Lord comes to bless Israel.
And behold, shepherds lead their flocks, the workers in the fields bring their harvest and wine from their vineyards, and all to the glory of the Lord. O Israel, now get thee to the hill, for all peoples shall receive the blessings of God. And David and all the house of Israel played before the Lord on all manner of instruments, even on harps, and on psalteries, and on timbrels, and on cornets and on cymbals. So David and all the house of Israel brought up the ark of the Lord with shouting and with the sound of the trumpet.
16. The Dance Before the Ark
Ms. Larson and Chorus
Mighty God!
Jehovah be with us!
O radiance of the morn,
And the splendor of noon!
Mighty God, be with us!
Ope wide those doors that lead to Heaven!
Ope wide those gates that lead to justice!
For the righteous alone enter therein;
In those precious portals of God the Lord.
Many nations brought me to war, Yet in Jehovah's name they were destroyed; Compassed me round like bees that swarm, Yet in Jehovah's name they were destroyed. Each withered bush I set on fire, In great Jehovah's name it was destroyed. For he has shielded me from harm, And his right hand has led me on. Lord above, show thyself, and scatter all our foes!
Sing to the Lord, sing loud and long!
Play on your instruments and dance!
Give to the Lord glory and strength!
Let the sea roar in its fullness;
Yea, let the fields rejoice for gladness
And the trees of the forest sing praises!
In eternal light he abides; He hovers on wings of the wind, And his robe is the roof of the earth. Hidden by clouds, there lies his dwelling, And 'mid the tempest he hath spoken. Then magnify the Lord Creator! Praise to the holiest, Savior of Israel!
Mighty God, be with us!
The Angel:
Give ear: 'tis not for thee as king
To build a house unto my name.
Behold, a child is born to thee,
And I will set him on thy throne.
And he shall be my Son,
And I will be his Father.
Then shall he build an house for my name,
And Solomon he shall be called,
That over Israel peace may reign!
Choir of Angels: Alleluia! Alleluia!
Part III 17. Song
Now my voice in song upsoaring
Shall loud proclaim my king afar.
His wealth of splendor fast outpouring
Shall put to nothing e'en the loveliest star.
Pride of Adam's race that bore thee, A simple shepherd, wont to sing, And yet surpassing all before thee, Thou hast been chosen by the Lord to be our king.
God will send thee sons to cherish, Who shall inherit in their turn; Thy name, in glory, shall not perish, And the people as their pastor Shall announce thee Master.
And the blessings of God rested upon David's house. All the kings of the earth are united with him, and he is the great?est among them all. But sin entered into his heart, for it came to pass in an even?tide, that David arose from off his bed, and walked upon the roof of the king's house: and from the roof he saw a woman washing herself; and she was very beautiful to look upon.
18. Song of the Handmaid
Ms. Larson
Oh my love, take my hand; Let us wander the vale, Where the vine-leaves so frail Promise fruit for the land!
Nay, fair one, in this bower, As yet no grape to cull, But see, in splendor full The mandrake is in flower!
And David sent and inquired about the woman. And his servant said, "Is this not Bathsheba, the wife of Uriah the Hittite" So David sent messengers, and took her; and she came to him, and he lay with her. Then she returned to her house. And the woman conceived; and she sent and told David, "I am with child." So David sent for Uriah and he wrote a letter to Joab, and sent it by Uriah's own hand. In the letter he wrote, "Set Uriah in the forefront of the hardest fighting, and then draw back from him, that he may be struck down." And it happened as David had written. And when her mourning was over, David sent and brought Bathsheba to his house, and she became one of his wives, and bore him a son. But the thing that David had done displeased the Lord, and the Lord struck the child.
19. Psalm of Penitence
Pity me, God, in my distress!
Turn not away, but heal me again!
Wash me of sin and cleanse me of shame,
And in thy hot displeasure, O chasten me not!
And the Lord sent Nathan to David. He came to him and said, "There were two men in a certain city, the one rich and the other poor. The rich man had flocks and herds; but the poor man had but one lit?tle ewe lamb, which he had bought. And
he brought it up, and it grew with him and with his children; it used to eat of his morsel, and drink from his cup, and lie in his bosom, and it was like a daughter to him. Now there came a traveler to the rich man, and the rich man was unwilling to take one of his own flock to prepare for his guest, but he took the poor man's lamb and prepared it for him." Then David's anger was kindled and he said to Nathan, "As the Lord lives, the man who had done this deserves to die!" Nathan said to David, "You are that man." And Nathan departed unto his house and it came to pass on the seventh day that the child died.
20. Psalm
Behold, in evil I was born,
And in iniquity conceived.
For thou desirest truth and goodness,
And in the hidden part great wisdom.
I have sinned, yea heavily transgressed.
I have been shown the path to follow,
And I have wandered from thy footsteps.
Pity me, God, in my distress!
Pardon, Lord, the evil I have done!
And the wrath of the Lord fell hard upon the house of David; for a brother, Amnon, ravished a sister, Tamar. Absalom, David's beloved son, killed his brother and arose against his father. The conspiracy grew strong and the people with Absalom kept increasing. And one day a messenger came to David saying, "The hearts of the people have gone after Absalom." Then David called his servants and said, "Arise and let us flee, or else there will be no escape." And all the country wept as the people passed by and the King crossed the brook Kedron, and passed on toward the wilderness.
21. Psalm
Mr. Gallant
Oh, shall I raise mine eyes unto the
From whence should come my help The Lord shall guide thy steps, going and
From henceforth, ever more. He will not suffer thy foot to be moved, For he is on high, watching above; The Lord who is thy keeper neither
slumbers nor sleeps.
So the people went out into the field against Israel: and the battle was in the wood of Ephraim. And Joab slew Absalom whose head was caught in the thick boughs of a great oak. And when David heard of it he was much moved, and went up into his chamber and wept. And as he went, thus he said, "O my son Absalom! Would God I had died for thee, O Absalom, my son, my son!"
22. The Song of Ephraim
Ms. Larson and Chorus O thou forest of grief, Where ravens seek their prey, The fruit is gathered in That hung upon thy boughs. Thy fruit, fiery as blood, Was plucked by envious hands; And must this be the price and forfeit of a kiss Ah!
23. March of the Hebrews Orchestra
And David signaled with his hand and the army stood still. And David said," You warriors of Israel, you are my brethren, you are my bones and my flesh, you have established peace in the land. Receive my thanks."
End of the March
And David spake unto the Lord the words of this song in the day that the Lord had delivered him out of the hand of all his enemies, and out of the hand of Saul.
24. Psalm Chorus
Thee will I love, O Lord, who art my
Thou art my shield, the horn of my salvation. God is my refuge safe; I trust in him, My rock, my strength, my tower and my
In him I find the solace that I long for; He guideth my steps, that I may walk in
I call on him and invoke his aid, And I am saved from my strong enemy.
When waves of death encompassed me And snares of men made me afraid, Then did he send and take me from above, And drew me forth out of many waters.
And again the anger of the Lord was kindled against Israel and he sent a pestilence and there died seventy thousand; and he sent an angel to destroy Jerusalem. And David spake unto the Lord when he saw the angel that smote the people, saying, "Let thine hand be against me and my father's house."
25. Psalm
In my distress then I cried to God.
Sorrows of Hell did so compass me round.
Out of his temple he listened and heard;
E'en to his throne came my voice to his ears.
Suddenly, the earth did shake in its
foundations, The very hills moved and trembled and
From summit above to the foot of the vale, So great the anger and wrath of the Lord!
Now King David was very old and stricken in years, and although they covered him with clothes, yet he remained cold. And he called to him Bathsheba, and she came into his chamber and stood before him. And he said, "As the Lord lives who has redeemed my soul out of every adversity, as I swore to you by the Lord God of Israel, saying, 'Solomon, your son, shall reign after me, and sit upon the throne in my stead,' even so will I do this day." And Bathsheba bowed with her face to the ground, and said, "May my Lord the King live forever."
26. The Crowning of Solomon Orchestra
Then Nathan the prophet and Zadok the priest took the horn of oil from the taber?nacle, and anointed Solomon, and they blew the trumpet. And all the people of Israel shouted, "Long live King Solomon!"
Now the days of David drew nigh that he should die; and he called Solomon, saying, "I go the way of all the earth. Be strong and show yourself a man; and keep the charge of the Lord thy God, to walk in his ways. When one rules justly over men, he dawns on them like the morning light, like the sun shining forth upon a cloud?less morning, like the rain that makes grass to sprout upon the earth. The Spirit of the Lord speaks by me. His word is upon my tongue. Blessed be the name of the Lord." Now these are the last words of David, the son of Jesse, the man who was raised on high, the anointed of the God of Jacob, the sweet psalmist of Israel.
27. The Death of David Ms. Larson and Chorus The Angel:
And God said: The day shall dawn To bring a flower, newly born; From thy stem in fullness growing, In fragrance sweet, night and morn, All my people shall adorn, With breath of life bestowing.
Alleluia! Alleluia!
Greater Lansing Symphony Wind Ensemble
Danilo Mezzadri,
Principal Nicole McPherson
Gretchen Morse, Principal
Frank Ell, Principal Jin Seok Park
Michael Kroth, Principal
Nick Murdick, Principal
Richard Illman,
Principal Mitch Gabel
Kyle Root, Principal
Aaron Tenney, Principal
Naki Sung Kripfgans
Elaine Walters
Scott VanOrnum
Mark Johnson, Principal
Stacey Jones, Principal Eric Jones Jon Webber
UMS Choral Union
Thomas Sheets, Conductor Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Naki Sung Kripfgans, Accompanist Kathleen Operhall, Chorus Manager Donald Bryant, Conductor Emeritus
Debra Joy Brabenec Ann K. Burke Susan F. Campbell Cheryl D. Clarkson Marie Ankenbruck
Kathy Neufeld Dunn Keiko Goto Mary Kay Lawless Carolyn Leyh Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Nancy K. Paul Margaret Dearden
Petersen Sara Peth Judith A. Premin Marisa Smith Elizabeth Starr Sue Ellen Straub Barbara Hertz
Wallgren Rachelle Barcus
Warren Mary Wigton Linda Kaye
Woodman Kathleen Young Denise Rae Zellner
Paula Allison-England Ellen Bryan Marilyn Finkbeiner Carolyn L. Gillespie Danna Gunderson Hilary Haftel Carol Kraemer
Hohnke Maren E. Keyt )ean Marie Leverich Cynthia I muii Beth McNally Betty Montgomery Holly Ann Muenchow Lisa Michiko Murray Kathleen Operhall Connie Pagedas Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Cheryl Utiger Madeleine A. Vala Katherine Verdery Sandra Wiley
Fr. Timothy J.
Dombrowski Phil Enns Steven Fudge Roy Glover Matthew P. Gray Ryan Gunderson J. Raul Gutierrez Jason Harris Bob Klaffke AT. Miller Jason Sell
Berhard Schoenliner G. Thomas Sheffer Elizabeth SkJar Jim Van Bochove
William Baxter Kee Man Chang Michael Coster Roger Craig John Dryden Gregory Fleming Michael Garrahan Jamie Gleason Philip J. Gorman Darnell L. Ishmel George Lindquist Rod Little Steven Lorenz Joseph D. McCadden Michael Pratt William Premin Rodney Smith Jeff Spindler Robert Stawski Robert D. Strozier John Joseph Tome Terril O. Tompkins Nathan Umphrey
'denotes member of Durtiflt choir
Susan Graham
, Mezzo-Soprano
Malcolm Martineau, Piano
Zigeunerlieder, Op. 103
Johannes Brahms (Hugo Conrat)
No. 1
He, Zigeuner, greife in die Saiten ein!
Spiel das Lied vom ungetreuen
Magdelein! LaS die Saiten weinen, klagen, traurig
bange, Bis heifie Tranen netzen diese Wange!
No. 2
Hochgetiirmte Rimaflut, Wie bist du triib, An dem Ufer Idag' ich Laut nach dir, mein Lieb!
Wellen fliehen, Wellen stromen, Rauschen an den Strand heran zu mir. An dem Rimaufer lafit mich Ewig weinen nach ihr!
Ho there, Gypsy! Strike resoundingly
each string! And the song of false and faithless
maiden sing! Let the strings all moan lamenting,
sorrow weeping, 'Til the burning tears these cheeks so
hot are steeping!
High and towering river Rima, Thou art so dear, On thy shore I mourn Aloud for thee, my dear!
Waves are fleeing, waves are streaming, Rolling o'er the shore afar to me. On the riverbank of Rima let me Weep for her eternally!
Please turn page quietly.
No. 3
Wifit ihr, wann mein Kindchen am
allerschonsten ist Wenn ihr siiftes Mundchen scherzt und
lacht und kiiSt. Magdelein du bist mein, inniglich kiiB'
ich dich, Dich erschuf der liebe Himmel einzig
nur fur mich!
WiBt ihr, wann mein Liebster am
besten mir gefallt Wenn in seinen Armen er mich
umschlungen halt. Schatzelein, du bist mein, inniglich kiifi'
ich dich, Dich erschuf der liebe Himmel einzig
nur fiir mich!
No. 4
Lieber Gott, du weiBt, wie oft bereut
ich hab" DaS ich meinem Liebsten einst ein
KiiBchen gab. Herz gebot, dafi ic hinhn kiissen muB.
Denk', solang ich leb', an deisen ersten KuB.
Lieber Gott, du weifit, wie oft in stiller
Nacht Ich in Lust une Leid an meinen Schatz
Lieb' ist suB, wenn bitter auch die Reu', Armes Herze bleibt ihm ewig, ewig treu.
Know ye, when my loved one is fairest
of all this If her sweet mouth rosy, jest and laugh
and kiss. Maiden heart, mine thou art. Tenderly
I kiss thee. Thee a loving heaven hath created just
for me!
Know ye, when my lover dearest is
to me When in his fond arms, he enfolds me
lovingly. Dear sweetheart, mine thou art.
Tenderly I kiss thee. Thee a loving heaven hath created just
for me!
Dear God, Thou know'st how oft I've
rued this, That 1 gave my lover once a little kiss.
Heart's command I kiss him, how
dismiss And long as I live I'll think of that first
Dear God, Thou know'st how oft in still
of night, How in joy and pain on him my
thoughts delight.
Love is sweet, though bitter oft to rue, My poor heart is his and ever, ever true.
No. 5
Brauner Bursche fiihrt zum Tanze Sein blauaugig schones Kind; Schlagt die sporen keck zusammen, Czardasmelodie beginnt.
Kiifit und herzt sein suSes Taubchen, Dreht sie, fiihrt sie, jauchszt und
Wirft drei blanke Silbergulden Auf das Zimbal, daB es klingt.
No. 6
Roslein dreie in der Reihe
bliihn so rot, Dafi der Bursch zum Madel geht,
ist kein Verbot!
Lieber Gott, wenn das verboten war', Stand' dies schdne weite Welt schon
langst nicht mehr; Ledig bleiben Siinde war!
Schonstes Stadchen in Alfold ist
Ketschekernet, Dort gibt es gar viele Madchen
schmuckt und nett! Freunde, sucht euch dort ein Brautchen
aus, Freit um ihre Hand und grundet euer
Haus, Freudenbecher leeret aus.
No. 7
Kommt dir manchmal in den Sinn,
mein siiBes Lieb, Was du einst mit heil'gem Eide mir
Tausch mich nicht, verlafi mich nicht, Du weifi nicht, wie lieb ich dich hab'.
Lieb du mich wie ich dich, Dann stromt Gottes Huld auf dich herab!
Brown the lad, blue-eyed the lassie ? Led by him to dance is she. Clashing spurs he strikes together: Start the Czardas melody!
Kisses fondly his sweet dove, and Spins her, whirls her, shouts and
Throws three shining silver gulden On the cymbal so it rings!
Rosebuds three, all on one tree, ye
bloom so red, That a lad a lassie woo, is not forbade!
O dear God, if that had been denied, Then the whole wide lovely world long
since had died. Single life's a sin, beside!
Fairest village in Alfeld is Ketschemete,
There live many pretty lasses trim and
neat! Friends, go find ye there a little bride,
Sue then for her hand and build your
house with pride. Drain the glass with friendship plied!
Art thou thinking often now, sweetheart,
my love, What thou once with holy vow to me
hast sworn
Leave me not, deceive me not, Thou know'st not how dear thou art
to me;
Love'st thou me as I thee, Then God's smile shall crown thee
Plane turn page quietly.
No. 8
Rote Abendwolken ziehn am Firmament,
Sehnsucht voll nach dir, Mein Lieb, das Herze brennt; Himmel strahlt in gliih'nder Pracht, Und ich traum' bei Tag und nacht Nur allein von dem siiSen Liebchen mein.
Proses Lyriques
Claude Debussy
De Reve
La nuit a des douceurs de femme, Et les vieux arbres, sous la lune d'or,
Songent! A Celle qui vient de passer,
La tete emperlee,
Maintenant navree, a jamais navree,
Us n'ont pas su lui faire signe...
Toutes! Elles ont passe:
Les Freles, les Folles,
Semant Ieur rire au gazon grele,
Aux brises froleuses la caresse
charmeuse des hanches fleurissantes. Helas! de tout ceci, plus rien qu'un
blanc frisson...
Les vieux arbres sous la lune d'or Pleurent leurs belles feuilles d'or! Nul ne Ieur dediera Plus la fierte des casques d'or, Maintenant ternis, a jamais ternis: Les chevaliers sont morts Sur le chemin du Graal! La nuit a des douceurs de femme, Des mains semblent froler les ames, Mains si folles, si freles, Au temps ou les epees chantaient
pour Elles!
D'etranges soupirs s'elevent sous les arbres: Mon ame c'est du reve ancien qui
Rosy evening clouds hang in the
Longing-filled for thee, My love, my heart is rent; Heaven glows with splendorous light And I dream by day and night But of thee, of the sweetheart dear to me.
The night is as sweet as a woman, And the old trees dream under the
golden moon. They didn't know how to call to the one
who just passed, Her head crowned with pearls, Now and forever distraught.
All have passed now,
The frail, the foolish,
Sowing their laughter in the sparse grass,
Breezes brushing the flowering hips'
charming caress. Alas! Only a white shiver remains of
all this.
The old trees weep their gilded leaves Under the golden moon. No more will anyone dedicate To them proud golden helms. Now and forever tarnished, The knights are dead On the Grail quest. The night is sweet as a woman. Hands seem to stroke the souls, Such foolish, frail hands, In the days when swords sang for them!
Strange sighs rise under the trees. My soul they are from an old dream that holds you.
De Greve
Sur la mer les crepuscules tombent,
Soie blanche effilee.
Les vagues comme de petites folles,
Jasent, petites filles sortant de I'ecole,
Parmi les froufrous de leur robe,
Soie verte irisee!
Les nuages, graves voyageurs,
Se concertent sur le prochain orage,
Et c'est un fond vraiment trop grave
A cette anglaise aquarelle.
Les vagues, les petites vagues,
Ne savent plus ou se mettre,
Car voici la mechante averse,
Froufrous de jupes envolees,
Soie verte affolee.
Mais la lune, compatissante a tous,
Vient apaiser ce gris conflit,
Et caresse lentement ses petites amies,
Qui s'offrent, comme levres aimantes,
A ce tiede et blanc baiser.
Puis, plus rien...
Plus que les cloches attardees des
flottantes eglises, Angelus des vagues, Soie blanche apaisee!
On the Strand
Dusk falls on the sea
Like tattered white silk.
The waves chatter like silly
Little girls let out of school
In their lustrous frilly green silk dresses.
The clouds, solemn travelers,
Band together to make the next storm.
The background is really too dark
For this English watercolour.
The little waves
Don't know where to go anymore,
Because here is the wicked shower
Their frilly skirts away And frightening the green silk. But the all-compassionate moon Comes to calm the gray quarrel. She slowly caresses her little friends, And they offer themselves, like loving lips, To her warm white kiss. Nothing more... Nothing but the delayed bells of
floating churches, Angelus of the waves, Pacified white silk.
De Fleurs
Dans l'ennui si desolement vert
De la serre de douleur,
Les fleurs enlacent mon coeur
De leurs tiges mechantes.
Ah! quand reviendront autour de ma tete
Les cheres mains si tendrement
desenlaceuses Les grands Iris violets Violerent mechamment tes yeux, En semblant les refleter, -Eux, qui furent l'eau du songe Oil plongerent mes reves si doucement, Enclos en leur couleur; Et les lys, blancs jets d'eau de pistils
Ont perdu leur grace blanche, Et ne sont plus que pauvres malades
sans soleil! -
Soleil! ami des fleurs mauvaises, Tueur de reves: Tueur d'illusions, Ce pain beni des ames miserables! Venez! Venez! Les mains salvatrices! Brisez les vitres de mensonge, Brisez les vitres de malefice, Mon ame meurt de trop de soleil! Mirages! Plus ne refleurira la joie de
mes yeux,
Et mes mains sont lasses de prier, Mes yeux sont las de pleurer! Eternellement ce bruit fou Des petales noirs de l'ennui, Tombant goutte a goutte sur ma tete, Dans le vert de la serre de douleur!
In the desolate green boredom
Of pain's hothouse,
Flowers surround my heart
With their nasty stems.
When will the dear hands return to
delicately Untangle them from round my head
The tall purple Iris
Cruelly violated your eyes
By seeming to reflect them.
They were the pools of reverie into which
My dreams softly dove,
Absorbed by their colour.
And the lilies, white jets of water with
perfumed pistils, Have lost their white grace And are but poor invalids who do not
know the sun. Sun! Friend of evil flowers, Dream-killer, illusion-killer, Holy bread of miserable souls! Come! Come! Saving hands! Smash the windows of lies, Smash the windows of evil spells, My soul is dying from too much sun! Mirages! Joy will never flower again in
my eyes
And my hands are tired of praying, My eyes tired of crying! In an eternal crazed noise, The black petals of boredom Drip constantly on my head In pain's green hothouse!
De Soir
Dimanche sur les villes,
Dimanche dans les coeurs!
Dimanche chez let petites filles,
Chantant d'une voix informee,
Des rondes obstinees,
Ou de bonnes tours
N'en ont plus que pour quelques jours!
Dimanche, les gares sont folles!
Tout le monde appareille
Pour des banlieues d'aventure,
En se disant adieu
Avec des gestes eperdus!
Dimanche les trains vont vite,
Devores par d'insatiables tunnels;
Et les bons signaux des routes
Echangent d'un oeil unique,
Des impressions toutes mecaniques.
Dimanche, dans le bleu de mes reves,
Ou mes pensees tristes
De feux d'artifices manques
Ne veulent plus quitter
Le deuil de vieux Dimanches trepasses.
Et la nuit, a pas de velours,
Vient endormir le beau ciel fatigue,
Et c'est Dimanche dans les avenues
La Vierge or sur argent Laisse tomber les fleurs de sommeil! Vite, les petits anges, Depassez les hirondelles Afin de vous coucher Forts d'absolution! Prenez pitie des villes, Prenez pitie des coeurs, Vous, la Vierge or sur argent!
Sunday on the city,
Sunday in our hearts!
Sunday among the little girls
Singing with untrained voices
Their stubborn rounds
Where good turns
Only last a few days!
Sunday, the stations are mad!
Everyone heads off
For the suburbs
Of adventure,
Waving a frenzied farewell!
Sunday trains are fast,
Devoured by insatiable tunnels,
And the good signal lights
With their single eyes
Exchange mechanical impressions.
Sunday, in the blue of my dreams
Where my sad thoughts
Of missed fireworks
Do not want to leave off
Mourning for deceased Sundays.
The night, with velvet steps,
Comes to lull the lovely, tired sky
to sleep, And it's Sunday among the avenues
of stars.
The Virgin, gold on silver, Scatters the flowers of sleep. Swiftly, little angels, Pass the swallows And go to bed, Strong in your absolution! Take pity on the cities, Take pity on our hearts, Oh Virgin, gold on silver.
Sieben Friihe Lieder Alban Berg
(Carl "Ferdinand Max" Hauptmann)
Dammern Wolken iiber Nacht und Tal, Nebel schweben, Wasser rauschen sacht.
Nun entschleiert sich's mit einemmal: O gib Acht! Gib Acht! Weites Wunderland ist aufgetan. Silbern ragen Berge, traumhaft grofi,
Stille Pfade silberlicht talen
Aus verborg'nem Schofi;
Und die hehre Welt so traumhaft rein.
Stummer Buchenbaum am Wege steht
Schattenschwarz, ein Hauch vom
fernen Hain Einsam leise weht. Und aus tiefen Grundes Diisterheit Blinken Lichter auf in stummer Nacht. Trinke Seele! Trinke Einsamkeit! O gib Acht! Gib Acht!
Schilflied (Nikolaus Lenau)
Auf geheimem Waldespfade Schleich' ich gern im Abendschein An das ode Schilfgestade, Madchen, und gedenke dein!
Wenn sich dann der Busch verdiistert, Rauscht das Rohr geheimnisvoll, Und es klaget und es fliistert, Dafi ich weinen, weinen soil.
Und ich mein', ich hore wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang.
The clouds embrown the night and
valley; The mists float above, the water
rushing gently.
Now all at once they unveil themselves: Oh listen! Pay heed! A broad land of wonder has opened up. Silver mountains rise up, fantastically
Silent paths lit with silver From the hidden lap of the valley; And the noble world is so dreamily pure. A mute beech stands by the path, Black with shadows; a breeze from a
distant, lonely grove Wafts gently by.
And from the deep darkness of the valley Flash lights in the silent night. Drink, my soul! Drink in this solitude! Oh listen! Pay heed!
Reed Song
Along a secret forest path 1 like to creep in the evening light; 1 go to the desolate, reedy banks, And think, my maiden, of you!
As the bushes grow dark,
The reeds hiss mysteriously,
And lament and whisper,
And thus I have to weep and weep.
And I think that I hear wafting The gentle sound of your voice, And down into the pond sinks Your lovely song.
Die Nachtigall (Theodor Storm)
Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem siifien Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.
Sie war doch sonst ein wildes Blut, Nun geht sie tief in Sinnen, Tragt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weifi nicht, was beginnen.
Traumgekront (Rainer Maria Rilke)
Das war der Tag der weiSen
Mir bangte fast vor seiner Pracht... Und dann, dann kamst du mir die
Seele nehmen Tief in der Nacht. Mir war so bang, und du kamst lieb
und leise,
Ich hatte grad im Traum an dich gedacht. Du kamst, und leis' wie eine
Marchenweise Erklang die Nacht.
Im Zimmer
(Johannes Schlaf)
Der liebe Abend blickt so still herein.
Ein Feuerlein rot
Knistert im Ofenloch und loht.
So, mein Kopf auf deinen Knien,
So ist mir gut.
Wenn mein Auge so in deinem ruht,
Wie leise die Minuten ziehn.
The Nightingale
It happened because the nightingale Sang the whole night long; From her sweet call, From the echo and re-echo, Roses have sprung up.
She was but recently a wild blossom, And now she walks, deep in thought; She carries her summer hat in her hand, Enduring quietly the heat of the sun, Knowing not what to begin.
Crowned in a Dream
That was the day of the white
I was almost intimidated by its glory... And then, then you came to take my soul
Deep in the night.
I was so worried, and you came so
lovingly and quietly, 1 had just thought of you in a dream. You came, and softly the night resounded
Like a fairy tale song. In the Chamber
Autumn sunlight.
The lovely evening peers so quietly in.
A little red fire
Crackles in the stove and flares up.
And with my head upon your knee,
I am contented.
When my eyes rest in yours,
How gently do the minutes pass!
Please turn page quietly.
(Otto Erich Hartleben)
Im Arm der Liebe schliefen wir selig ein,
Am offhen Fenster lauschte der
Sommerwind, Und unsrer Atemziige Frieden trug er
hinaus in die helle Mondnacht.
Und aus dem Garten tastete zagend sich
ein Rosenduft an unserer Liebe Bett
Und gab uns wundervolle Traume, Traume des Rausches, so reich an Sehnsucht.
Sommertage (Paul Hohenberg)
Nun ziehen Tage iiber die Welt,
Gesandt aus blauer Ewigkeit,
Im Sommerwind verweht die Zeit.
Nun windet nachtens der Herr
Sternenkranze mit seliger Hand
Ober Wander und Wunderland.
O Herz, was kann in diesen Tagen
Dein hellstes Wanderlied denn sagen
Von deiner tiefen, tiefen Lust:
Im Wiesensang verstummt die Brust,
Nun schweigt das Wort, wo Bild
um Bild Zu dir zieht und dich ganz erfiillt.
Ode to Love
In the arms of love we fell blissfully
asleep; At the open window the summer wind
listened And carried the peacefulness of our
Out into the bright, moonlit night. And out of the garden, feeling its way
randomly, The scent of roses came to our bed
of love
And gave us wonderful dreams, Dreams of intoxication, rich with
Summer Days
Now the days drag through the world, Sent forth from blue eternity; Time dissipates in the summer wind. Now at night the Lord weaves With blessed hand wreaths of stars Above the wandering wonderland. In these days, O my heart, what can Your brightest wanderer's song then say About your deep, deep pleasure In meadowsong the heart falls silent; Now there are no words, and image
upon image Visits you and fills you entirely.
Quatre poemes d'Apollinaire
Francis Poulenc (Guillaume Apollinaire)
leanne Houhou la tres gentille
Est morte entre des draps tres blancs
Pas seule Bebert dit 1'Anguille
Narcisse et Hubert le merlan
Pres d'elle faisaient leur manille
Et la craneuse de Clichy Aux rouges yeux de degueulade Repete "Mon eau de Vichy" Va dans le panier a salade Haha sans faire de chichi
Les yeux dansant comme des anges
Elle riait, elle riait
Les yeux tres bleus les dents tres blanches
Si vous saviez, si vous saviez
Tout ce que nous ferons dimanche.
L'ombre de la tres douce est evoquee ici,
Indolente, et jouant un air dolent aussi: Nocturne ou lied mineur qui fait pamer
son ame Dans l'ombre ou ses longs doigts font
mourir une gamme Au piano qui geint comme une pauvre
The Eel
Jeanne Houhou the very demure Died between the whitest of sheets Not alone Bebert alias the Eel Narcissus and Hubert the whiting Played manille close by her side
And the swanky Clichy woman With the vomit-red eyes Throws up my Vichy water Goes in the Black Maria Haha without a fuss
Eyes dancing like angels
She laughed she laughed
Her eyes very blue her teeth very white
If only you knew, if only you knew
Just what we'll do on Sunday.
Lo, the shade of the sweetest being is here evoked,
Indolent and playing a doleful air too:
Nocturne or lied in the minor key mak?ing her soul swoon
Down beneath her long fingers in the shade a scale is dying
At the piano that whimpers like a poor woman.
Avant le Cinema
Et puis ce soir on s'en ira
Au cinema
Les Artistes que sont-ce done
Ce ne sont plus ceux qui cultivent les
Beaux-arts Ce ne sont pas ceux qui s'occupent de
Art poetique ou bien musique Les Artistes ce sont les acteurs et
les actrices
Si nous etions des Artistes Nous ne dirions pas le cinema Nous dirions le cine Mais si nous etions de vieux professeurs
de province
Nous ne dirions ni cine ni cinema Mais cinematographe
Aussi mon Dieu faut-il avoir du gout.
A Strasbourg en dix-neuf-cent-quatre J'arrivai pour le lundi gras A l'hotel m'assis devant l'atre Pres d'un chanteur de l'Opera Qui ne parlait que de theatre
La Kellnerine rousse avait Mis sur sa tete un chapeau rose Comme Hebe qui les dieux servait N'en eut jamais 6 belles choses Carnaval chapeau rose Ave!
A Rome a Nice et a Cologne Dans les fleurs et les confetti Carnaval j'ai revu ta trogne, 0 roi plus riche et plus gentil Que Cresus Rothschild et Torlogne
Je soupai d'un peu de foie gras De chevreuil tendre a la compote De tartes flans et cetera Un peu de kirsch me ravigote
Que ne t'avais-je entre mes bras.
Before the Cinema
And then this evening we'll go
To the cinema
But who are these Artistes
No longer those who cultivate the
Fine Arts Nor those concerned with Art
The art of poetry or even music The Artistes are actors and actresses
If we were Artistes
We would not say the cinema
We would say the cine
But if we were old professors from the
We would say neither cine nor cinema But cinematograph
My God we must have taste and how.
In 1904,1 went to Strasbourg For the Monday before Lent. In the hotel, I sat by the fireside Near an opera singer Who only talked about the theatre.
The red-headed Kellnerine Was wearing a pink hat Such as Hebe, servant to the gods, Never had. Oh, things of beauty Carnival, pink hat, Ave!
In Rome, in Nice and in Cologne, Among the flowers and confetti, Carnival, I've seen your ugly face. Oh, richer, kinder king than Croesus, Rothschild and Torlogne.
I ate a bit of foiegras for supper,
With tender venison,
Pies, flans, etc.
A little kirsch warmed me up.
Why weren't you in my arms
French Operetta
Vois-tu, je m'en veux (from Les P'tites Michu)
Andre Messager (Blanche-Marie)
Vois-tu, je m'en veux a moi-meme Et j'ai grand tort, je le sais bien: Ce metier, il faut que je l'aime Eh! bien cela ne me dit rien.
Pour une ame un peu poetique, ki tout est triste et banal Et c'est en vain que je m'applique Ce n'est pas la mon ideal!
Ah! soeurette, ma sceurette! Combien je regrette la pension! Ah! soeurette, ma soeurette La pension avait du bon!
Oui, quand j'y pense, ma cherie Pour nous deux c'etait le bon temps! Quelquefois on etait punie Ces malheurs-la sont amusants.
Rire, chanter, faire tapage C'etait charmant en verite: Ah! qu'on nous rende notre cage Si Ton nous rend notre gaiete!
Ah! soeurette, ma sceurette! Combien je regrette la pension! Ah! sceurette, ma sceurette! La pension avait du bon!
You see, I blame myself
You see, I blame myself
And 1 know it's very wrong of me:
I ought to love this job,
But alas, I don't!
For a rather poetic soul
Everything her is sad and banal
And no matter how much I apply myself,
It's not what I really want!
Ah, little sister, little sister! How I miss our boarding school! Ah, little sister, little sister, School had its good points!
And, when I think of it, my love, For us two they were good times! Occasionally one was punished, But that was amusing.
We laughed, we sang, we lived it up,
It was truly charming:
Ah, give us back our prison,
If that means giving back our happiness!
Ah, little sister, little sister! How I miss our boarding school! Ah, little sister, little sister, School had its good points!
PUuisr turn page quietly.
]'ai deux amants
(from VAmour masque) J'ai deux amants c'est beaucoup mieux, Car je fais croire a chacun d'eux Que l'autre est le monsieur serieux.
Mon Dieu, que c'est bete les hommes!
11s me donnent la meme somme
Exactement par mois,
Et je fais croire a chacun d'eux
Que l'autre m'a donne la double chaque
Et ma foi, Us me croient, Us me croient tous les deux.
Je ne sais pas comment nous sommes, Mais, mon Dieu! Que c'est bete un
homme! Alors...vous pensez...deux!
Un seul amant, c'est ennuyeux C'est monotone et soupconneux, Tandis que deux c'est vraiment mieux. Mon Dieu! Que les hommes sont betes! On les f'rait marcher sur la tete
Facilement, je crois,
Si par malheur ils n'avaient pas
A cet endroit precis des ramures de bois
Qui leur vont!
Et leur font
Un beau front ombrageux!
Je ne sais pas comment nous sommes, Mais, mon Dieu, que c'est bete un
homme! Alors...vous pensez...deux!
I've two lovers
I've two lovers, it's so much better, For I make each one believe The other is the serious one.
My God! How stupid men are!
Each month they give me
Exactly the same amount
And I make each of them believe
The other gives me twice as much each
And my word, They believe me, They both believe me.
I don't know what women are, But men! By God, they're stupid!
And then...just think...two!
To have just one lover is tedious, Monotonous and suspicious, While two is truly better. My God! How stupid men are! One could easily get them, I think,
To walk on their heads,
If they did not have the misfortune
to have,
Exactly there, antlers of wood That suit them so, And create Such delightful shade!
I don't know what women are, But men! By God, they're stupid!
And then...just think...two!
C'est ca la vie, c'est ca l'amour (from Toi c'est moi)
Moises Simons (Viviane)
C'est 9a la vie, C'est 9a l'amour! Voila les p'tits embarras Oil Ton se fourr'. On s'aime un soir, On s'quitte un jour. C'est 9a la vie, C'est ca l'amour!
Carmencita la Gitana
Aimait le bel Escamillo:
Ell' se donna pour toujours au torero.
Mais tous les homm's sont comme ca
De ses baisers il se lassa,
11 la trompa,
Ell' lui reprocha,
II la plaqua!
C'est 9a la vie, C'est ca l'amour! Voila les p'tits embarras Ou Ton se fourr'. On s'aime un soir, On s'quitte un jour. C'est ca la vie, C'est 9a l'amour!
Carmencita la Gitana
Retrouva son toreador.
Ell' pardonna
Voulant qu'il la reador'.
Mais tous les homm's sont comme 9a,
Escamillo la retrompa,
La Gitana
Prit sa navaja
Et le tua!
That's life, that's love
That's life
That's love!
The scrapes
One gets into!
One falls in love of an evening,
The next day its goodbye.
That's life
That's love!
Carmen the Gypsy
Loves handsome Escamillo;
She swore to love the bullfighter forever,
But all men are the same:
He tired of her kisses,
He deceived her,
She reproached him,
He left her!
That's life
That's love!
The scrapes
One gets into!
One falls in love of an evening,
The next day its goodbye.
That's life
That's love!
Carmen the Gypsy
Found her bullfighter once more,
She forgave him,
Wanting him to adore her again.
But all men are the same:
Escamillo deceived her again,
The Gypsy
Seized his dagger
And killed him!
UMS Education
UMS Artist Interview: Susan Graham
Saturday, March 29, 11:00 am, UM School of
Music Stearns Building, Cady Room
Please note that Ms. Graham will participate in
a public interview tomorrow morning conducted
by Freda Herseth, UM Professor of Voice and
acclaimed mezzo-soprano.
This event is open to the public. Seating limited
to capacity.
This is a UMS collaboration with the UM School of Music Vocal Arts Division.
and Bank One
Evening at the Apollo
Capone, Master of Ceremonies C.P. Lacey, "The Executioner" Monijae, Hostess
Ray Chew and the Crew
Program Friday Evening, April 4 at 8:00
Michigan Theater Ann Arbor
Tonight's contestants and performance order will be announced from the stage.
In keeping with Evening at the Apollo tradition, audience response (applause or boos) will determine tonight's winner.
80th Performance of the 124th Season
Ninth Annual African American Series
Tlic photographing or sound recording oj this concert or possession of any device for such photographing or sound recording is prohibited.
Tliis performance is sponsored by Bank One.
This performance is co-presented with the University of Michigan as part of a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the per?forming arts.
The educational activities associated with this performance are presented with support from the Whitney Fund, a supporting organization of the Community Foundation for Southeastern Michigan.
Presented with support from the National Endowment for the Arts.
Additional support provided by media sponsors WEMU 89.1 FM and Metro Times.
Evening at the Apollo appears by arrangement with ICM Artists, Ltd.
Please visit for additional information on the University Musical Society.
Large print programs are available upon request.
Tonight's Contestants
Listed alphabetically:
Sidney Bailey IV, aka B.I.Z. The Messenger
Age: 21
RapperEmcee UM Student from Grand Rapids, MI
Lhea Copeland
Age: 18
Spoken Word ArtistPoet UM Student from Detroit, MI
De Novo (Serene Arena, Spencer Bastian, Scott Doerrfeld, Nick Kittle)
Ages: 20-22
Rock Band
UM Students residing in Ann Arbor, MI
Jonathan Desir,
aka Fathom Age: 22
Spoken Word ArtistPoet College student residing
in Redford, MI
Deidra Ekins
Age: 20
College student residing in Leslie, MI; originally from Dansville, MI
Jeff Kass
Age: 36
Spoken Word ArtistPoet
Pioneer High School
English Teacher from
Ann Arbor, MI
Erin Lyle
Age: 26 Vocalist Residing in Ypsilanti, MI
Izadora Meevwen
Age: 17 Vocalist High school student
residing in Ann Arbor,
Jessica Paine
Age: 17 Dancer
High school student residing in Ypsilanti, MI
David Parker, Jr.
Age: 22
Classical Pianist Residing in Ann Arbor, MI
Jerry Reid
Age: 16 Vocalist
High school student residing in Canton, MI
(Latasha Benton and
Nikell Johnson) Ages: 19 and 27 Gospel Vocalist with
Interpretive Dancer College students residing
in Flint, MI
Ava Rodgers
Age: 33
Henry Ford Community College student resid?ing in Detroit, MI
Elizabeth Walker
Age: 18 Vocalist
College student residing in Lansing, MI
Jack Wu Age: 69 Dancer
DancerEngineer residing in Ann Arbor, MI
'Tonight's contestants were selected by Evening at the Apollo stall members from a diverse pool of over 270 performing acts at open auditions held on February 21 and February 22, 2003 in Ann Arbor and Detroit.
"Where stars are born and legends are made!"
They call him Capone,"The Gangster of Comedy." As a regular Amateur Night M.C., Capone is known for his ability to slay the toughest of audiences with razor sharp wit, piercing wise cracks, and brilliant comedic timing motivated
by what he refers to as his "former life" on the wrong side of the law. A classic "bad boy makes good," Capone has managed to use some of the darker aspects of his past as
inspiration for incredibly hilarious routines based on common and not-so-common situations.
Capone has performed with such celebrities as Tracey Morgan, the widely acclaimed comic Talent, and Michael Epps. His ability to connect with and adapt to any audience has made him a mainstay of the incredibly challenging Apollo Theater Amateur Night. Capone recently completed his first solo comedy album My Life Was No Joke, released in July 2002.
This weekend's performances mark Capone's UMS debut.
An "extraordinary human dynamo," "a master comic, impressionist, actor and dancer," are just some of the accolades that have been lauded on C.P. Lacey, the Apollo Amateur Night Executioner. As the most recent incarnation of a distin?guished alumni, C.P. Lacey has been per?forming for more than a decade as the Apollo Amateur Night character now known simply as The Executioner, aka "Sandman." In addition, he co-stars each week on the nationally syndicated TV show, It's Showtime at the Apollo. Lacey is
known for his flawless imitations and mimicry of some of the greatest talents in entertainment history, such as James Brown and Michael Jackson.
Monijae has been the gracious and glam?orous hostess of Amateur Night since 1995. Monijae has established herself as the "hostess with the mostest" every Wednesday night in Harlem. Known for her weekly salute to Apollo Legends of die past and present, she has captured the hearts of the legendary and highly critical Apollo audi?ence. A true Renaissance Woman, Monijae is more than a pretty face. When not grac?ing the Apollo stage with her presence, Monijae lights up the airwaves as an accomplished on-air announcer at WWRL 1600AM and as a dance instructor to aspiring young performers.
Formed in 1992, Ray Chew and the Crew was created as an extension of the ensem?ble's musical duties as the house band for the Apollo Theater in Harlem, New York. Chew, along with original band members Bobby Douglas and Ralph Rolle, enlisted the talents of Joseph Gray and Artie Reynolds, thus creating "The Baddest Band in the Land." In addition, Chew and the Crew have also garnered a national TV audience as the house band for the syndicated TV Show, It's Show Time at the Apollo. Whether the skeptical Apollo audience is booing or applauding, the first rate musicianship of the band can be heard alongside aspiring contestants in the world famous Apollo Amateur Night's weekly showcase competition.
The band recently released a soulful new R&B album, Feelin' It, whidi has been garnering positive critical reviews. For more information about Ray Chew and the Crew visit
While other clubs and theaters may have shined in their heyday, the Apollo Theater currently stands alone as die soul of Harlem's musical and entertainment traditions. The Apollo Theater first opened its doors as Hurtig and Seamon's New Theater in 1914. The theater quickly evolved into a burlesque house operating for white patrons only, common for the?ater houses and dubs at the time, even in Harlem. However, in 1935, under the management of Leo Brecher and Frank Schiffman, the Apollo became one of the first racially integrated theaters in New York City for both artists and patrons. Billed as the "The Only Stage Show in Harlem" by Brecher and Schiffman, a per?manent variety show format emphasizing black entertainers was instituted. The Apollo Theater soon emerged as the "must-play" performance hall for profes?sionals, and a proving ground for aspiring black amateur artists.
In 1934 Ralph Cooper established the first Amateur Night contests at the
Apollo and a young dancer turned vocalist by the name of Ella Fitzgerald made her Amateur Night debut. Over the ensuing years, this platform for aspiring artists catapulted the careers of many legendary performers including Sarah Vaughan, James Brown, Gladys Knight and the Pips and The Jackson Five. Amateur Night is still the place "where stars are born and legends made," as evidenced by more recent participants including Siscp, D'Angelo and I.auryn Hill. Audiences at the Apollo remain legendary as well, by helping to create, sustain or break the popularity of entertainers.
Having presented and shaped the legends of 20th-century American music and show business, few places in the country symbolize the impact of African-American culture on American society more than the Apollo Theater. The Theater was recognized with landmark status in 1983 and is listed on the National Register of Historic Places.
Evening at the Apollo
Capone, Master of Ceremonies C.P. Lacey, "The Executioner" Monijae, Hostess
Ray Chew and the Crew
Program Saturday Evening, April 5 at 8:00
Detroit Opera House Detroit
Tonight's contestants and performance order will he announced from the stage.
In keeping with Evening at the Apollo tradition, audience response (applause or boos) will determine tonight's winner.
81st Performance of the 124th Season
Ninth Annual African American Series
'I'he photographing or sound recording W this concert or possession of a ny devil I foi such photographing or sound recording is prohibited.
This porformance is sponsored by Borders.
This performance is co presented with the University of Michigan as part ol a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the performing arts.
The educational activities associated with this performance are presented with support from the Whitney Fund, a supporting organization of the Community Foundation for Southeastern Michigan.
Presented with support from the National Endowment for the Arts.
Additional support provided hy media'sponsors WF.Ml! RO. 1 I;M and Metro Yimcf.
F.voningal the Apollo appears by arrangement with [CM Artists, I id.
Please visit www.nms.orp for additional information on the University Musical Society.
Large print programs are available upon request.
Tonight's Contestants Listed alphabetically:
Shanita Barnett, aka Cig'R
Age: 29 Vocalist Residing in Detroit, MI
Changa Bey
Age: 25
Spoken Word ArtistPoet
Residing in Southfield,
Ml, originally from
Detroit, MI
Charlita Chinn, aka De'Vachello
Age: 17
High school student residing in Detroit, MI
Rell Devine
Age: 27 Vocalist Residing in Detroit, Ml
Gayle Dodd
Age: 17 Vocalist
High school student residing in Ousted, Ml
Sharita Dorsey
Age: 24
Residing in Detroit, MI
Blues Guitar Player Residing in Detroit, Ml
Michael Ford, aka IMITO
Age: 27
Residing in Detroit, Ml
CheLarrie Goldsby Age: 15 Dancer
High school student residing in Detroit, Ml
Roland Hamilton
Age: 22
Jazz Pianist
Residing in Detroit, Ml
Louis Jackson and
Isaac Morgan Ages: 16 Tap Dancers High school students
residing in Lathrup
Village, Ml
Sparkle Jackson
Age: 25 Vocalist Residing in Detroit, Ml
Joe Reilly Age: 24 VocalistAcoustic
Guitaristist Residing in Detroit, MI,
originally from
Kalamazoo, MI
Serenade (Terelle Allen, Mike Buford, Harvey Davis, Andray Millege, Berry Young) Ages: 20 VocalistsDance Group Residing in Saginaw, Ml and Ypsilanti, Ml
Christian Williams, aka Chris-Style
Age: 10
Gospel Rapper
Elementary student resid?ing in Southtield, MI
'Tonight's contestants were selected by livening at the Apollo stall members Ironi a diverse pool of over 270 performing acls at open auditions held on February 21 and February 22, 2003 in Ann Arbor and Detroit.
"Where stars are born and legends are made!"
They call him Capone,"The Gangster of Comedy." As a regular Amateur Night M.C., Capone is known tor his ability to slay the toughest of audiences with razor sharp wit, piercing wise cracks, and brilliant comedic timing motivated
by what he refers to as his "former life" on die wrong side of the law. A classic "bad boy makes good," Capone has managed to use some of the darker aspects of his past as
inspiration for incredibly hilarious rou?tines based on common and not-so-com?mon situations.
Capone has performed with such celebrities as Tracey Morgan, the widely acclaimed comic Talent, and Michael Epps. His ability to connect with and adapt to any audience has made him a mainstay of the incredibly challenging Apollo Theater Amateur Night. Capone recently completed his first solo comedy album My Life Was No Joke, released in July 2002.
This weekend's performances mark Capone's UMS debut.
An "extraordinary human dynamo," "a master comic, impressionist, actor and dancer," are just some ot the accolades that have been lauded on C.P. Lacey, the Apollo Amateur Night Executioner. As the most recent incarnation of a distin?guished alumni, C.P. Lacey has been per?forming for more than a decade as the Apollo Amateur Night character now known simply as The Executioner, aka "Sandman." In addition, he co-stars each week on the nationally syndicated TV show, It's Showtime at the Apollo. Lacey is
known tor his flawless imitations and mimicry of some of the greatest talents in entertainment history, such as James Brown and Michael Jackson.
Monijae has been the gracious and glam?orous hostess of Amateur Night since 1995. Monijae lias established herself as the "hostess with tlie mostest" every Wednesday night in Harlem. Known for her weekly salute to Apollo Legends of tlie past and present, she has captured tlie hearts of tlie legendary and highly critical Apollo audi?ence. A true Renaissance Woman, Monijae is more than a pretty face. When not grac?ing tlie Apollo stage with her presence, Monijae lights up tlie airwaves as an accomplished on-air announcer at WWIU. 1600AM and as a dance instructor to aspiring young performers.
Formed in 1992, Ray Chew and the Crew was created as an extension of tlie ensem?ble's musical duties as tlie house band for tlie Apollo Theater in Harlem, New York. Chew, along with original band members Bobby Douglas and Ralph Rolle, enlisted tlie talents of Joseph Gray and Artie Reynolds, thus creating "The Baddest Band in tlie Land." In addition, Chew and tlie Crew have also garnered a national TV audience as tlie house band for the syndicated TV Show, It's Show Time at the Apollo. Whether tlie skeptical Apollo audience is booing or applauding, the first rate musicianship of the band can be heard alongside aspiring contestants in tlie world famous Apollo Amateur Niglit's weekly showcase competition.
The band recently released a soulful new R&B album, Feeliu' It, which has been garnering positive critical reviews. For more information about Ray Chew and die Crew visit
While other clubs and theaters may have shined in their heyday, the Apollo Theater currently stands alone as the soul of Harlem's musical and entertainment traditions. The Apollo Theater first opened its doors as Hurtig and Seamen's New Theater in 1914. The theater quickly evolved into a burlesque house operating for while patrons only, common for the?ater houses and clubs at the time, even in Harlem. However, in 1935, under the management of Leo Brecher and Frank Schiffman, the Apollo became one of the first racially integrated theaters in New York City for both artists and patrons. Billed as the "The Only Stage Show in Harlem" by Brecher and Schiffman, a per?manent variety show format emphasizing black entertainers was instituted. The Apollo Theater soon emerged as the "must-play" performance hall for profes?sionals, and a proving ground for aspiring black amateur artists.
In 9M Ralph Cooper established the first Amateur Night contests at the
Apollo and a young dancer turned vocalist by the name of Hlla Fitzgerald made her Amateur Night debut. Over the ensuing years, this platform for aspiring nrtists catapulted the careers of many legendary performers including Sarah Vaugban, James Brown,Gladys Knight and ttic Pips and The Jackson Five. Amateur Night is still the place "where stars arc born and legends made," as evidenced by more recent participants including Sisqo, D'Angelo and Lauryn Hill. Audiences at the Apollo remain legendary as well, by helping to create, sustain or break the popularity of entertainers.
Having presented and shaped the legends of 20th-century American music and show business, few places in the country symbolize the impact of African-American culture on American society more than the Apollo Theater. The Theater was recognized with landmark status in 1983 and is listed oil the National Register ol Historic Places.

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