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UMS Concert Program, Wednesday Apr. 09 To May 01: University Musical Society: Winter 2003 - Wednesday Apr. 09 To May 01 --

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

ums presentation
University Musical Society
of the University of Michigan
Winter 2003 Season
university musical society
UMS leadership
University of Michigan Ann Arbor
Letters from the Presidents Letter from the Chair ) ?"JlJ Corporate LeadersFoundations ' 14 UMS Board of Directors 14 UMS Senate 4 Advisory Committee i UMS Staff i UMS Teacher Advisory Committee
' General Information_______f--y-:.--.
t Tickets ,,...,
I Group Tickets I Discounted Student Tickets I Gift Certificates
The UMS Card
"i UMS History I '"" ' '""'' i UMS Choral Union 'jnffjfpa
o VenuesBurton Memorial Tower .iplp
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
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he 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, Coriolamis, 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
hank 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 ..nr0 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
s 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, Ford 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." !$M
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 as -------
"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 t "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." I
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 M proud to support such an inspiring organization." Q
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. PHUT" "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 j
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) Sams 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. Binkovv 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 B. Ullrich Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
Louise Tovvnley, Chair Raquel Agranoff, Vice
Chair Morrinc Maltzman,
Secretary Jeri Savvall, Treasurer
Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Judi Batay-Csorba Kathleen Benton
Mimi Bogdasarian Jennifer Boyce Mary Breakey Jeannine 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 j Mary Matthews Ingrid Merikoski Jeanne Merlanti
Candice Mitchell Bob Morris Bonnie Paxton Danica Peterson Wendy Ransom Svvanna 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 Dvvyer, 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. Triad Schork, Direct
Mail and Gift
Processing Manager
EducationAudience Development Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
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 ). 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 s
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 Decked Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brcnda 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 Mclinda Trout Sally Vandeven Barbara Wallgren Jeanne VVcinch
Barrier-Free Entrances i
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations arc 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.UmS.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 UMS membership.
he 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 todayL_____&a.
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than $1.8 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:
1. 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 every 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 ($50 for 5 punches, $100 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.
ooking 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 compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
MS 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
oin 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.
r' hrough 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
hroughout 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 ex 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
, 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
" otwithstanding 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
"he 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
he 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 il n 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
uilt 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
he 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
een from miles away, Burton Memorial 1 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 '' 2003 Winter Season ,_?
Event Program Book Wednesday, April 9 through Thursday, May 1, 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. rir.
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.
Bach Collegium Japan WmM'-
Wednesday, April 9, 7:30 pm j$W&
St. Francis of Assisi Catholic Church Ann Arbor
Matthias Goerne
Thursday, April 10, 8:00 pm
Lydia Mendelssohn Theatre Ann Arbor
An Evening with Audra McDonald
Friday, April 18, 8:00 pm Michigan Theater Ann Arbor s
Gabrieli Consort and Players
Saturday, April 19, 8:00 pm ""'
Michigan Theater Ann Arbor'";
The Hilliard Ensemble Christoph Poppen
Thursday, May 1, 8:00 pm
St. Francis of Assisi Catholic Church Ann Arbor
UMS Educational Events through Thursday, May 1,2003.
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Matthias Goerne
PREP: "Times of Day, Times of Season"
Led by Steven Whiting, UM Professor of Musicology. Professor Steven Whiting illuminates themes in the music of the recital while locating Schubert and Wolf in the history of the Lied. Thursday, April 10, 7:00 pm, Michigan League, Vandenbcrg Room, 2nd floor, 911 N. University Avenue
Afro-Brazilian Dance Party featuring Daniela Mercury
UMS Artist Interview and Reception: Daniela Mercury
As a thank you to everyone ]
supporting the 0203 UMS Brazil series, UMS and UM Latin American and Caribbean Studies is hosting a special interview and reception with award-winning Bahian musical artist and Brazilian pop icon Daniela Mercury. ,
Friday, April 11,4:00 pm, International Institute, Room 1636, School of Social Work Building, 1080 South University (at East University)
A UMS collaboration with the UM Center for Latin American and Caribbean Studies.
St. Matthew
@@@@J. S. Bach

@@@_.,.;' Passio Domini nostri J.C.
Secundum Evangalistam Matthaeum
alias Picander
r, -:
Passion of our Lord Jesus Chris f according to St. Mattew . Text by Christian Henrici : also known as PicandeP
pS. Aif1'5 original title page inscription
Wednesday, April 9, 7:30 pm St. Francis of Assisi Catholic Church
1. Chor
Kommt, ihr TOchter, helft mir Idagen, Sehet Wen den Briiutigam, Seht ihn Wie als wie ein Lamm! Sehet, Was seht die Geduld, Seht Wohin auf unsre Schuld; Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen!
O Lamm Gottes, unschuldig
Am Stamm des Kreuzes geschlachtet,
Allzeit erfunden geduldig,
Wiewohl du warest verachtet.
All Siind hast du getragen,
Sonst miifiten wir verzagen.
Erbarm dich unser, o Jesu !
Salbung in Bethanien
2. Evangelist
Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jiingern:
Ihr wisset, daS nach zweien Tagen Osterrir wird, und des Menschen Sohn wird uberant-wortet werden, daB er gekreuziget werde. (Mt. 26:1-2)
3. Chor
Herzliebster Jesu, was hast du verbrochen, '
DaS man ein solch scharf Urteil hat -;
Was ist die Schuld, in was ftir Missetaten!
Bist du geraten '
4a. Evangelist
Da versammleten sich die Hohenpriester und' Schriftgelehrten und die Altesten im Volk in dem Palast des Hohenpriesters, der da hieS ., Kaiphas, und hielten Rat, wie sie Jesum mit i Listen griffen und toteten. j '
Sie sprachen aber: . .-.. .-.-.1
1. Chonis
Come, you daughters, help me to mourn,
See him -whom -the bridegroom,
See him -how as a lamb!
Look what look at his patience,
Look where at our guilt;
Look at him who, for love and grace
Bears the wood of the cross himself!
O lamb of God, innocent Slaughtered on the cross, Ever patient,
Though you were despised. All sin you have borne, Otherwise we should despair. Have mercy on us, O Jesus.
Anointing in Bethany
2. Evangelist ' _
When Jesus had finished all these sayings, he said unto His disciples:
Ye know that after two days is the feast of the passover, and the Son of Man is betrayed to be crucified. (Mt. 2: 1-2)
3. Chorus ':
Dearest Jesus, what crime have you Tj
committed, That man has pronounced such a harsh
What is the fault, in what misdeed Are you caught up
4a. Evangelist
Then assembled together the chief priests, and
the scribes, and the elders of the people, unto
the palace of the high priest, who was called
Caiaphas, and consulted that they might take
Jesus by subtilty, and kill him.
But they said:
4b. Chor ?'
la nicht auf das Fest, auf daS nicht ein Aufruhr
werde im Volk . t?:
4c. Evangelist
Da nun Jesus war zu Bethanien, im Hause Simonis des Aussatzigen, trat zu ihm ein Weib, die hatte ein Glas mit kostlichem Wasser und gofi es aufsein Haupt, da er zu Tische sa6. Da: das seine lunger salien, wurden sie unwillig . und sp i adieu:
Wozu dienet dieser Unrat Dieses Wasser hie mogen teuer verkauft und den Armen gegeben werden.
4e. Evangelist : "rr:
Da das Jesus merkete, sprach er zu ihnen:
Jesus t
Was bekummert ihr das Weib Sie hat ein gut Werk an mir getan. Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit. Dafi sie dies Wasser hat auf meinen Leib gegossen, hat sie getan, dafi man mich begraben wird. Wahrlich, ich sage euch Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedachtnis, was sie getan hat. (Mt. 26: 3-13)
5. Alt
Du lieber Heiland du,
Wenn deine Jiinger toricht streiten,
Dafi dieses fromme Weib
Mit Salben deinen Leib
Zum Grabe will bereiten,
So lasse mir inzwischen zu,
Von meiner Augen Tranenflussen
Ein Wasser auf dein Haupt zu giefien!
BuS und Reu
Knirscht das Siindenherz entzwei,
Dafi die Tropfen meiner Zahren
Angenehme Spezerei,
Treuer Jesu, dir gebaren.
4b. Chorus
Not on the feast day, lest there be an uproar
among the people. ..??? ??.....:
4c. livaugelist
Now when Jesus was in Bethany, in the house of Simon the leper, there came unto him a -1_ woman, having an alabaster box of very pre?cious ointment, and poured it on his head, as he sat at meal. But when his disciples saw it,,i-they had indignation, saying:
4d. Chorus
To what purpose is this waste For this ointment
might have been sold for much, and given to
the poor.
4e. Evangelist ' ' ? i
When Jesus understood it, he said unto themrS
Why trouble ye the woman For she hath wrought a good work upon me. For ye have' the poor always with you, but me ye have not always. For in that she hath poured this oint?ment on my body, she did it for my burial. Verily I say unto you, wheresoever this Gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told for a memorial of her. (Mt. 26: 3-13)
S.Alto -?-??-???
You dear Saviour, -------
If your disciples foolishly dispute; Because this pious woman Wants to prepare your body j With ointment for the grave, '
So grant me in the meantime, From the flowing tears of my eyes That 1 may pour water onto your head!
Penance and repentance Grates the sinners heart asunder, So that from my lamenting tears Fine spices, Dear Jesus, may be yielded up.
Verrat des Judas
7. Evangelist
Da ging hin der Zwolfen einer, mit Namen
Judas Ischarioth, zu den Hohenpriestern und
Was wollt ihr mir geben Ich will ihn euch
Und sie boten ihm dreiSig Silberlinge.
Und von deni an suchte er Gelegenheit,
daft er ihn verriete.
(Mt. 26: 14-16) ;
8. Soprati -?
Blute nur, du liebes Herz! ' Ach! ein Kind, das du erzogen,
Das an deiner Brust gesogen, ' ?
Droht den Pfleger zu ermorden, ': Denn es ist zur Schlange worden.
9a. Evangelist -
Aber am ersten Tage der siiGen Brot traten die'; Jiinger zu Jesu und sprachen zu ihrn: ., . '
9b. Chor
Wo willst du, da6 wir dir bereiten, das
Osterlamm zu essen
Er sprach:
Gehet hin in die Stadt zu einem und sprecht zu ihm: Der Meister laGt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jiingern.
Und die Jiinger taten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend satzte er sich zu Tische mit den ZwolfenJ Und da sie afien, sprach er:
Wahrlich, ich sage euch: Einer unter euch wird mich verraten ??'.?. ' ? -v;
Judas's Betrayal
7. Evangelist
Then one of the twelve, called Judas Iscariot,
went unto the chief priests and said:
What will ye give me, and I will deliver him unto you
And they covenanted with him for thirty
pieces of silver. And from that time he sought
opportunity to betray him.
(Mt. 26: 14-16)
8. Soprano
Bleed now, you dear heart!
O, a child that you have nurtured, ?
That has suckled at your breast, t.
Threatens to kill this carer,
For this child has become a serpent.
The Last Supper
9a. Evangelist
Now, the first day of the feast of unleavened
bread the disciples came to Jesus, saying unto
9b. Chorus s
Where wilt thou that we prepare for thee to eat the Passover
? -i
9c. Evangelist And he said:
Go into the city to such a man and say unto him, "The Master saith, My time is at hand; 1 will keep the Passover at thy house with my disciples." ;.-.v, -.V.'
And the disciples did as Jesus had appointed them, and they made ready the Passover. Now when the even was come, he sat down with the twelve. And as they did eat, he said:
I:;:,..--?? :X .? '.MMM
Verily I say unto you, that one of you shall betray me.
9d. Evangelist
Und sie wurden sehr betriibt und huben an,
ein jeglicher unter ihnen, und sagten zu ihm:
9e. Clwr
Herr, bin ich's (Mt. 26: 17-22)
10. Clior r--:"-Ich bin's, ich sollte biiSen, i An Handen und an Fulien 1 Gebunden in der Holl.
Die GeiGeln und die Banden ; Und was du ausgestanden, i Das hat verdienet meine Seel.
11. Evangelist ........
Er antwortete und sprach:
Der mit der Hand mit mir in die Schussel tauchet, der wird mich verraten. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe deni Menschen, durch welchen des Menschen Sohn verraten wird! Es ware ihm besser, daS derselbige Mensch noch nie geboren
Da antwortete Judas, der ihn verriet, und sprach:
Bin ich's, Rabbi
Er sprach zu ihm:
Du sagest's.
Da sie aber a8en, nahm Jesus das Brot, dankete und brach's und gab's den Jungern und sprach:
Nehniet, esset, das ist mein Leib.
9d. Evangelist
And they were exceedingly sorrowful and
began every one of them to say unto him:
9e. Chorus
Lord, is it I (Mt. 26: 17-22)
10. Chorus
It is I, I should atone, ??
By hands and by feet $gjj
Bound in hell.
The scourging and the bands
And what you have undergone,
All that my soul deserved.
1. Evangelist
And he answered and said:
-''?.?' '.jl
He that dippeth his hand with me in the dish, the same shall betray me. The Son of Man goeth as it is written of him; but woe unto that man by whom the Son of Man is betrayed: it had been good for that man if he had not been born.
Evangelist J'
Then Judas, which betrayed Him, answered
and said:
hulas '" -???''?'? ' " " ??-'.?'
Master, is it 1
Evangelist :";3
He said unto him:
And as they were eating, Jesus took bread, and blessed it, and brake it, and gave it to the disci?ples, and said:
Take, eat; this is my body.
Und er nahni den Kelch und dankte, gab ihnen
den und sprach:
Trinket alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird fur viele zur Vergebung der Siinden. Ich sage euch: Ich werde von nun an 'nicht mehr von diesem Gewachs des Weinstocks trinken bis an den Tag, da ich's neu trinken werde mit euch in meines Vaters Reich. (Mt. 26: 23-29)
12. Sopran
Wiewohl mein Herz in Tranen schwimmt, DaK Jesus von mir Abschied ninimt, So macht mich doch sein Testament erfreut: Mein Fleisch und Blut, o Kostbarkeit, Vermacht er mir in meine Hande. Wie er es auf der Welt mit denen Seinen Nicht bose konnen meinen, So liebt er sie bis an das Ende. .E
13. Sopran
Ich will dir mein Herze schenken, ?.-..
Senke dich, mein Heil, hinein! 1
Ich will mich in dir versenken;
Ist dir gleich die Welt zu klein,
Ei, so sollst du mir allein
Mehr als Welt und Himmel sein. . ?
Jesu Zagen am Olberg
14. Evangelist
Und da sie den Lobgesang gesprochen i
hatten, gingen sie hinaus an den Olberg. . j Da sprach Jesus zu ihnen:
In dieser Nacht werdet ihr euch alle argern an mir. Demi es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wenn ich aber aufer-stehe, will ich vor euch hingehen in Galilaam. i (Mt.26:30-32) ? ..n: -s ??-.-?--
And he took the cup, and gave thanks, and
gave it to them, saying:
Drink ye all of it; for this is my blood of the new testament, which is shed for many for the remission of sins. But I say unto you, I will not drink henceforth of this fruit of the vine, until that day when I drink it new with you in my Father's kingdom. (Mt. 26: 23-29)
12. Soprano
Although my heart is swimming in tears
Because lesus is departing from me,
Yet his testament gladdens me:
His flesh and blood, so precious
He bequeaths into my hands.
How he, with his own in the world,
Can not be angry
For he loves them until the end.
13. Soprano
I wish to give you my heart,
Descend, my Saviour, into it!
I wish to immerse myself in you;
Even if the world is too small for you
O, you should be to me alone
More than earth and heaven.
Jesus's Despair on the Mount of Olives
14. Evangelist
And when they had sung an hymn, they went out into the Mount of Olives. Then saith Jesus unto them:
Jesus '
All ye shall be offended because of me
this night: for it is written, I will smite the
shepherd, and the sheep of the flock shall
be scattered abroad. But after I am risen again,
I will go before you into Galilee.
(Mt. 26:30-32) ...-.-.

Erkenne mich, tnein Hiiter, Mein Hirte, nimm mich an! . Von dir, Quell aller Giiter, 1st mir viel Guts getan. Dein Mund hat mich gelabet Mit Milch und siiGer Kost, Dein Geist hat mich begabet ; Mit mancher Himmelslust.
16. Evangelist ? '.....-' ?
Petrus aber antwortete und sprach zu ihm:
Petrus -i
Wenn sie auch alle sich an dir argerten, so will ich doch mich ninimermehr argern.
Jesus sprach zu ihm:
Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krahet, wirst du mich dreimal verleugnen.
Petrus sprach zu ihm:
Und wenn ich mit dir sterben niu'Bte, so will
ich dich nicht verleugnen.
Desgleichen sagten auch alle Jiinger.
(Mt. 26: 33-35)
17. Chor
Ich will hier bei dir stehen; Verachte mich doch nicht! Von dir will ich nicht gehen, Wenn dir dein Herze bricht. Wenn dein Herz wird erblassen Im letzten TodesstoG, Alsdenn will ich dich fassen In meinen Arm und Schofi.
15: Chorus
Recognize me, my guardian,
My shepherd accept me!
From you, source of all good things,
I have received much good.
Your mouth has fed me
With milk and sweet food,
Your spirit has filled me
With much heavenly joy-
16. Evangelist
Peter answered and said unto him:
Though all men shall be offended because of thee, yet will I never be offended
Evangelist .
Jesus said unto him: .
Verily I say unto thee, that this night before the cock crow, thou shalt deny me thrice. ;
Peter said unto Him:
Though I should die with thee, yet I will not
Likewise also said all the disciples.
(Mt. 26:33-35)
17. Chorus
I want to stand beside you;
Do not despise me!
I do not want to leave you,
When your heart breaks.
When your heart turns pale
In its final death throes,
I would embrace you
In my arms and womb.
18. Evangelist
Da kam Jesus mit ihnen zu einem Hofe, der hieB
Gethsemane, und sprach zu seinen Jiingern: .."
Setzet euch hie, bis da8 ich doit hingehe und r
Und nahin zu sich Petrum und die zween Sohne Zebedai und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen: ;'-' "
Meine Seele ist betriibt bis an den Tod, bleibet hie und wachet mit mir. (Mt. 26: 36-38)
19. Tenor O Schmerz!
Hier zittert das gequalte Herz; ; VVie sinkt es hin, wie bleicht sein Angesichfr Der Richter fiihrt ihn vor Gericht.
Da ist kein Trost, kein Heifer nicht. j
Er leidet alle Hiillenqualen, j
Er soil vor fremden Raub bezahlen. j
Ach, konnte meine Liebe dir, .1
Mein Heil, dein Zittern und dein Zagen t
Vermindern oder helfen tragen, ? jjj
Wie gerne blieb ich hier! ?' j
Chor 'I
Was ist die Ursach aller soldier Plagen ,Ach! meine Siinden haben dich geschlagei Ich, ach Herr Jesu, habe dies verschuldet S Was du erduldet. ? ?
20. Tenor } Ich will bei meinem Jesu wachen,
Chor . " -'
So schlafen unsre Sunden ein. :
Solo '???;
Meinen Tod ;
BuSet seine Seelennot; " " ' " ""';
Sein Trauren machet mich voll Freuden. '
Drum mufi uns sein verdienstlich Leiden
Recht bitter und doch siiBe sein. -?}
18. Evangelist
Then cometh Jesus with them unto a place called
Gethsemane, and saith unto the disciples:
Sit ye here, while I go and pray yonder.
And he took with him Peter and the two sons of Zebedee, and began to be sorrowful, and very heavy. Then saith he unto them:
My soul is exceedingly sorrowful, even unto death; tarry ye here and watch with me. (Mt. 26:36-38)
19. Tenor O pain!
Here the tormented heart trembles; How it perishes, how pale is its face! The judge leads him to the court. There is no comfort, no helper. He suffers all the torments of hell, He shall pay for another's crime.
0 that my love could,
My Saviour, your trembling and pains Reduce or help you to bear them, How willingly I should stay here!
What is the reason for such torments-
0, my sins have assaulted you;
1, O Lord Jesus, have caused this That you are suffering. .
20. Tenor
1 want to watch by my Jesi
Chorus A"
So our sins fall asleep
My death';
Is saved by his soul's distress; J
His sorrow fills me with joy. :
Chorus '
For this reason his saving sorrows ?
Must be both bitter and yet sweet.
Gebet am Olberg ,4
21. Evangelist ?
Und ging hin ein vvenig, fiel nieder auf sein
Angesicht und betete und sprach:
Mein Vater, ist's moglich, so gehe dieser Kelch von mir; doch nicht wie ich will, H sondern wie du willt. (Mt. 26: 39) ').?
22. Bafi
Der Heiland fallt vor seinem Vater nieder;
Dadurch erhebt er mich und alle __.__
Von unserm Falle -
Hinauf zu Gottes Gnade wieder.
Er ist bereit,
Den Kelch, des Todes Bitterkeit j
Zu trinken,
In welchen Siinden dieser Welt
Gegossen sind und hafilich stinken,
Weil es dem lieben Gott gefallt.
23. Bafi
Gerne will ich mich bequemen,
Kreuz und Becher anzunehmen,
Trink ich doch dem Heiland nach.
Denn sein Mund,
Der mit Milch und Honig flieBet, ???-._
Hat den Grund
Und des Leidens herbe Schmach
Durch den ersten Trunk versiiBet.
24. Evangelist
Und er kam zu seinen Jiingern und fand sie schlafend und sprach zu ihnen:
Konnet ihr denn nicht eine Stunde mit mir wachen Wachet und betet, daB ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach.
Zum andernmal ging er hin, betete und sprach:
Mein Vater, ist's nicht moglich, daB dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille. (Mt. 26: 40-42)
Prayer on the Mount of Olives
21. Evangelist ?_______
And he went a little farther, and fell on His face and prayed, saying:
O my Father, if it be possible, let this cup pass from me, yet not as I will, but as thou willt. (Mt.26:39)
22. liass ?---
The Saviour falls down before his father:
Thereby he lifts me and all men
From our fall .-.aSKM
Up again to God's grace.
He is prepared
The chalice of death's bitterness:
To drink.
Into which the sins of this world ;
Are poured and stink most frightfully,
For this is what pleases the dear God.
23. liass -
I would willingly
Receive the cross and cup j
For 1 drink as the Saviour did. J
For his mouth, :5
Which flows with milk and honey,
Has sweetened the dregs
And the bitter disgrace of the suffering
By drinking the first sip.
24. Evangelist
And he cometh unto the disciples, and findeth
them alseep, and saith unto Peter:
What, could ye not watch with me one hour Watch and pray, that ye enter not into tempta?tion; the spirit is indeed willing, but the flesh is weak.
He went away again the second time, and
O my Father, if this cup may not pass away from me, except I drink it, thy will be done. (Mt. 26:40-42)
25. Chor
Was mein Gott will, das g'scheh allzeit,
Sein Will, der ist der beste,
Zu helfen den'n er ist bereit,
Die an ihn gliiuben feste.
Er hilft aus Not, der fromme Gott,
Und ziichtiget mit MaBen.
Wer Gott vertraut, fest auf ihn baut,
Den will er nicht verlassen.
26. Evangelist Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlafs. Und er lieS sie und ging abermal hin und betete zum drit-tenmal und redete dieselbigen Worte. Da kam er zu seinen Jiingern und sprach zu ihnen:
Ach! wollt ihr nun schlafen und ruhen Siehe,
die Stunde ist hie, daG des Menschen Sohn in
der Siinder Hande iiberantwortet wird. Stehet
auf, lasset uns gehen; siehe, er ist da, der mich
? Evangelist
Und als er noch redete, siehe, da kam Judas, der Zwolfen einer, und mit ihm eine groGe Schar mit Schwerten und mit Stangen von den Hohenpriestern und Altesten des Volks. Und der Verrater hatte ihnen ein Zeichen gegeben l und gesagt: "Welchen ich kiissen werde, der ft ist's, den greifet!" Und alsbald trat er zu Jesu ;J und sprach: " "
Judas J&g
GegriiiSet seist du, Rabbi!
Und kussete ihn. Jesus aber sprach zu ihi
Jesus ??'.
Mein Freund, warum bist du kommen '.
Evangelist , . . . .
Da traten sie hinzu und legten die Hande an Jesum und griffen ihn. (Mt. 26: 43-50)
25. Chorus
What my God wishes, always happens,
His will is the very best,
He is prepared to help anyone
Who truly believes in Him.
He helps us in need, the good God, _;
And punishes with measure.
Who trusts in God, builds firmly on him
God will not abandon.
26. Evangelist "'?-;-"-And he came and found them asleep again, for their eyes were heavy. And he left them, and went away again, and prayed the third time, saying the same words. Then cometh he to his disciples, and saith unto them:
Sleep on now, and take your rest, behold, the hour is at hand, and the Son of Man is betrayed into the hands of sinners. Rise, let us be going; behold, he is at hand that doth betray me.
Arrest of Jesus
And while he yet spake, lo, Judas, one of the twelve, came and with him a great multitude with swords and staves, from the chief priests and elders of the people. Now he that betrayed him gave them a sign, saying: "Whomsoever, I shall kiss, that same is he, hold him fast." j And forthwith he came to lesus, and said:
Hail, Master!
And kissed Him. And Jesus said unto him:
Friend, wherefore art thou come
Then came they, and laid hands on Jesus and
took him. (Mt. 26: 43-50) .,----
.".-a i
27a. Sopriin und Alt
So ist mein Jesus nun gefangen-j
Mond und Licht
1st vor Schmerzen untergangen,
Weil mein Jesus ist gefangen. (
Sie fiihren ihn, er ist gebunden.
Mit Chor LaSt ihn, haltet, bindet nicht!
27b. Chor
Sind Blitze, sind Donner in Wolken ;
verschwunden Eroffne den feurigen Abgrund, o Holle, Zertriimmre, verderbe, verschlinge, zerschelle Mit plotzlicher Wut Den falschen Verrater, das mordrische Blut!
28. Evangelist
Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach lesus zu ihm:
Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soil durchs Schwert umkommen. Oder meinest du, daft ich nicht kunnte meinen Vater bitten, dafi er mir zuschickte mehr denn zwolf Legion Engel Wie wiirde aber die Schrift erfiillet Es muS also gehen.
Zu der Stund sprach Jesus zu den Scharen:
llir seid ausgegangen als zu einem Morder, mit Schwerten und mit Stangen, mich zu fahen; bin ich doch taglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist alles geschehen, dafi erfiillet wiirden die Schriften
Evangelist -
Da verlieCen ihn alle Jiinger und flohen.
(Mt. 26: 51-56)
27a. Soprano and Alto '?
So my Jesus has been captured.
Moon and light
Have given way before pain,
Because my Jesus has been captured.
They are leading him, he is bound.
With Chonis
Loose him, stop, do not bind him!
27b. Chorus ---.....?
Have lightnings and thunders disappeared in the clouds ...-,.
Open the fiery abyss, O hell, Destroy, ruin, devour, wreck With sudden anger The false traitor, murderous blood. .'?,
28. Evangelist
And behold, one of them that were with Jesus, stretched out his hand, and drew his sword, and struck a servant of the high priest's, and smote off his ear. Then said Jesus unto him:
Put up thy sword into his place, for all they that take the sword shall perish with the sword. Thinkest thou that I cannot now pray to my Father, and he shall presently give me more than twelve legions of angels But how then shall the Scriptures be fulfilled, that thus it must be L?.-.
In that same hour said Jesus to the multitudes:
Are ye come out as against a thief, with swords and staves for to take me 1 sat daily with you teaching in the temple and ye laid no hold on me. But all this was done, that the Scriptures of the prophets might be fulfilled.
Then all the disciples forsook him and fled.
(Mt. 26:51-56)
29. Chor
O Mensch, bewein dein Siinde groS, Darum Christus seins Vaters SchoB AuBert und kam auf Erden; Von einer Jungfrau rein und zart Fur uns er hie geboren ward, Er wollt der Mittler werden. Den Toten er das Leben gab Und legt darbei all Krankheit ab, Bis sich die Zeit herdrange, DaS er fiir uns geopfert wiird, Triig unsrer Sunden schwere Biird Wohl an dem Kreuze lange.
W.Alt t
Ach! nun ist mein Jesus hin! Wo ist denn dein Freund hingegangen, -i O du Schonste unter den Weibern Ist es moglich, kann ich schauen Wo hat sich dein Freund hingewandt Ach! mein Lamm in Tigerklauen, ' Ach! wo ist mein Jesus hin
,?.'?-?' Chor it
So wollen wir mit dir ihn suchen. Ach! was soil ich der Seele sagen, Wenn sie mich wird angstlich fragen Ach! wo ist mein Jesus hin
Verhor vor der Hohenpriestern 3. Evangelist
Die aber Jesum gegriffen hatten, fuhreten ihn zu dem Hohenpriester Kaiphas, dahin die '? Schriftgelehrten und Altesten sich versammlet hatten. Petrus aber folgete ihm nach von feme bis in den Palast des Hohenpriesters und ging hinein und satzte sich bei die Knechte, auf daS . er sahe, wo es hinaus wollte. Die Hohenpriester aber und Altesten und der ganze Rat suchten falsche Zeugnis wider Jesum, auf daS sie ihn toteten, und funden keines. (Mt. 26: 57-60a)
29. Chorus
O man, lament your great sins,
For which Christ left his father's lap
And came on Earth;
From a virgin pure and delicate
For us he was born here.
He wanted to become our intercessor.
You gave life to the dead
And conquered all sickness,
Until the time should be, : -
That he was sacrificed for us, I___
And carried the heavy burden of our sins Well and long on the cross.
O, now my Saviour is gone! :
Is it possible Can I behold;
O, my lamb in the claws of the tiger, "'
O, where has my Jesus gone
O, what shall I say to my soul '"?
When it anxiously asks me:
O, where has my Jesus gone
".: ? -??? '''?'?' " Chorus r
Whither has your friend gone, " O you loveliest of women Where has your friend turned We would seek him with you.
Interrogation by the Chief Priests
31. Evangelist .__.
And they that had laid hold on Jesus led him away to Caiaphas, the high priest, where the scribes and the elders were assembled. But Peter followed him afar off unto the high priest's palace, and went in, and sat with the servants to see the end. Now the chief priests and elders and all the council, sought false witness against Jesus, to put him to death; but found none. (Mt. 26: 57-.60a)...... ...
32. Chor ;
Mir hat die Welt triiglich gericht'
Mit Liigen und mit falschem G'dicht,::
Viel Netz und heimlich Stricke. '??
Herr, ninini niein wahr in dieser G'fahr,
B'hCit mich fiir falschen Tucken!
Und wiewohl viel falsche Zeugen herzutrateriijfr. funden sie doch keins. Zuletzt traten herzu zvveen falsche Zeugen und sprachen:
Enter und sweiter Zeuge
Er hat gesagt: Ich kann den Tempel Gottes
abbrechen und in dreien Tagen denselben bauen
Und der Hohepriester stund auf und sprach
zu ihm:
Antwortest du nichts zu dem, das diese
wider dich zeugen
Aber Jesus schwieg stille. (Mt. 26: 60b-63a)
Mein Jesus schweigt
Zu falschen Liigen stille,
Um uns damit zu zeigen,
Dafi sein Erbarmens voller Wille
Vor uns zum Leiden sei geneigt,
Und daS wir in dergleichen Fein
Ihm sollen ahnlich sein
Und in Verfolgung stille schweigen.
35. Tenor
Wenn mich falsche Zungen stechen.
Leid ich wider meine Schuld
Schimpf und Spott,
Ei, so mag der liebe Gott
Meines Herzens Unschuld rachen.
32. Chorus ??'
The world has judged me treacherously ' With lies and with falsehoods, Many snares and secret traps. .;
Lord, be my defence against these dangers, Preserve me from false malice!
33. Evangelist ?&???['.... t
Yea, though many false witnesses came, yet found they none. At the last came two false witnesses, and said:
First and Second Witnesses
This fellow said, I am able to destroy the
temple of God, and to build it in three days.
And the high priest arose, and said unto him:
High Priest
Answerest thou nothing What is it which.
these witness against thee :r' ---
Evangelist -t
But Jesus held his peace. (Ml. 26: 60b-63a)
34. Tenor ----------------?-------------
My Jesus is silent ? ??
Calm in the face of falsehoods, .'
In order to show us, .....
That the true intent of his mercy
Is in suffering before us,
And that we in the same pain '
Should be like him
And, in persecution, be silent. i'-r"
35. Tenor Patience!
When false tongues strike me. As I endure my guilt Insult and mockery, O, that God might Avenge my innocent heart.
36a.Evangelist .-, ? ?i;v.h
Und der Hohepriester antwortete und sprach zu ihm: '''
Ich beschwore dich bei dem lebendigen Gott, daG du uns sagest, ob du seiest Christus, der Sohn Gottes . ,.-,-.
Jesus sprach zu ihii
&+ A
@@@@Du sagest's. Doch sage ich euch: Von nun an wird's geschehen, daG ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels.
Evangelist {.,
Da zerriG der Hohepriester seineWeider
und sprach:
Pontifex ?
Er hat Gott gelastert; was diirfen wir weiter Zeugnis Siehe, itzt habt ihr seine Gotteslasterung gehoret. Was diinket euch
Evangelist : ------.---,---Sie antworteten und sprachen:
36b. Chor
Er ist des Todes schuldig!
36c. Evangelist
Da speieten sie aus in sein Angesicht und schlugen ihn mit Fausten. Etliche aber schlu-gen ihn ins Angesicht und sprachen:
36d. Chor
Weissage uns, Christe, wer ist's, der dich
schlug (Mt. 26: 63b-68)
37. Chor
Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So iibel zugericht'
Du bist ja nicht ein Sunder
Wie wir und unsre Kinder;
Von Missetaten weiBt du nicht.
36a. Evangelist
And the high priest answered and
said unto him: ;?""?
High Priest
I adjure thee by the living God, that thou tell
us whether thou be the Christ, the Son of God.
Jesus saith unto him:
?' V
Thou hast said: nevertheless I say unto you, hereafter shall ye see the Son of Man sitting on the right hand of power, and coming in the clouds of heaven. -
Then the high priest rent his clothes, saying:
ttt-Z i
High Priest
He hath spoken blasphemy; what further need have we of witnesses Behold, now ye have heard his blasphemy. What think ye
They answered and said:
36b. Clwrus '
He is guilty of death!
36c. Evangelist Then did they spit in his face, and buffeted him, and others smote him with the palms of their hands, saying: .;
36d. Chorus
Prophesy unto us, thou Christ, Who is he that
smote thee (Mt. 26: 63b-68)
37. Chorus
Who has beaten you thus,
My Saviour, and tormented you
So evilly with torments
For you are not a sinner
As we and our children are;
You know nothing of misdeeds.
Petri Verleugnung
38a. Evangelist
Petrus aber saS drauBen im Palast;
und es trat zu ihm cine Magd und sprach:
Erste Magd
Und du warest auch mit dem Jesu aus Galilaa.
Er leugnete aber vor ihnen alien und sprach:
Ich weiB nicht, was du sagest.
1!TJ'"-V...ri.i .
Als er aber zur Tiir hinausging, sahe ihn eine
andere und sprach zu denen, die da waren:
ZweiteMagd ?" ' "?? '-"-? ?; ' = '"' ? '
Dieser war auch mit dem lesu von Nazareth.
Und er leugnete abermal und schwur dazu
Ich kenne des Menschen nicht.
Und iiber eine kleine Weile traten hinzu,
die da stunden, und sprachen zu Petro:
38b. Chor
Wahrlich, du bist auch einer von denen;
denn deine Sprache verrat dich.
38c. Evangelist ...
Da hub er an, sich zu verfluchen und zu
Ich kenne des Menschen nicht.
Evangelist' '? ' " '?'?"'' ? Und alsbald krahete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: Ehe der Hahn krahen wird, wirst du mich dreimal verleugnen. Und ging heraus und weinete bitterlich. (Mt. 26: 69-75) .....
Peter's Denial
38a. Evangelist
Now Peter sat without in the palace;
and a damsel came unto him, saying:
First Maid
Thou also wast with Jesus of Galilee.
But he denied before them all, saying:
I know not what thou sayest.
And when he was gone out into the porch, another maid saw him and said unto them that were there:
Second Maid
This fellow was also with Jesus of Nazareth.
And again he denied with an oath:
1 do not know the man,
Evangelist -?????? .. ?? -iAnd after a while came unto him they that?; stood by, and said to Peter,
38b. Chorus
Surely thou also art one of them, for thy J
speech betrayeth thee. :
38c. Evangelist
Then began he to curse and to swear, saying:
it: I
@@@@Peter ' .' I know not the man.
And immediately the cock crew. And Peter remembered the word of Jesus, which said unto him, before the cock crow, thou shallt deny me thrice. And he went out, and wept bitterly. (Mt. 26: 69-75)
39. Alt '
Erbarme dich,
Mein Gott, um meiner Zahren willen!
Schaue hier,
Herz und Auge weint vor dir .
40. Choral Bin ich gleich von dir gewichen, Stell ich mich doch wieder ein; Hat uns doch dein Sohn verglichen Durch sein' Angst und Todespein. Ich verleugne nicht die Schuld; Aber deine Gnad und Huld 1st viel groSer als die Siinde, Die ich stets in mir befinde.
Judas im Tempel 41a. Evangelist Ues Morgens aber hielten alle Hohepriester und die Altesten des Volks einen Rat iiber Jesum, dafi sic ihn toteten. Und bunden ihn, fiihreten ihn hin und iiberantworteten ihn deni Landpfleger Pontio Pilato. Da das sahe Judas, der ihn verraten hatte, dafi er verdammt war zum Tode, gereuete es ihn und brachte herwieder die dreiBig Silberlinge den Hohenpriestern und Altesten und sprach:
Ich habe iibel getan, dafi ich unschuldig Blut verraten habe. .. ........
Evangelist Sie sprachen:
41b. Clwr
Was gehet uns das an Da siehe du zu!
Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhiingete sich selbst. Aber die Hohenpriester nahmen die Silberlinge und sprachen:
I lohepriester
Es taugt nicht, daB vvir sie in den Gotteskasten
legen, denn es ist Blutgeld. (Mt. 27: 1-6)
'"I -?
SW i7 f '
39. Alto "
Have mercy
My God, for the sake of my tears:
Look upon me.
Heart and eyes weep for yo
40. Chorus
If I have turned away from you
May 1 yet return again; _
For your son has redeemed us &
Through his agony and painful death. -'&
I do not deny my guilt;
But your mercy and your grace :
Are much greater than the sins
That are constantly within me. :
Judas in the Temple i
41a. Evangelist .-,
When the morning was come, all the chief priests and elders of the people took counsel against Jesus to put him to death. And when they had bound him, they led him away, and delivered him to Pontius Pilate the governor. Then Judas, which had betrayed him, when he saw that he was condemned, repented himself, and brought again the thirty pieces of silver to the chief priests and elders, saying:
I have sinned in that I have betrayed the
innocent blood.
Evangelist -
And they said:
41b. Chorus
What is that to us See thou to that!
And he cast down the pieces of silver in the temple, and departed, and went and hanged himself. And the chief priests took the silver pieces, and said:
Chief Priests
It is not lawful for us to put them into the treasury, because it is the price of blood. (Mt. 27: 1-6)
42. Bafi ? '
Gebt mir meinen Jesum wieder!
Seht, das Geld, den Morderlohn,
Wirft euch der verlorne Sohn
Zu den FiiBen nieder! '.
Jesus vor Pilatus 42. Evangelist Sie hielten aber einen Rat und kauften einen Topfersacker darum zum Begrabnis der Pilger. Daher ist derselbige Acker genennet der Blutacker bis auf den heutigen Tag. Da ist erfiillet, das gesagt ist durch den Propheten Jeremias, da er spricht: "Sie haben genommen dreifiig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den M Kindern Israel, und haben sie gegeben urn einen Topfersacker, als mir der Herr befohlen hat." Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn und sprach:
Pilatus i'' '
Bist du der Juden Konig
Evangelist ? ???'?
Jesus aber sprach zu ihm:
Du sagest's.
Evangelist '
Und da er verklagt war von den "'i
Hohenpriestern und Altesten, antwortete , er nichts. Da sprach Pilatus zu ihm: '?$iffi?
Pilatus .]_
Horest du nicht, wie hart sie dich verklagen
Und er antwortete ihm nicht auf ein Wort, also, daS sich auch der Landpfleger sehr ver-wunderte. (Mt. 27: 7-14)
42. Bass
Give me back my Jesus!
See the money, the murderer's fee.
The lost son casts the money
Down at your feet.
Jesus before Pilate 42. Evangelist
And they took counsel together, and brought with them the potter's field, to bury strangers in. Wherefore that field was called the Field of Blood until this day. Then was fulfilled that which was spoken by Jeremiah the prophet saying, "And they took the thirty pieces of silver, the price of him that was valued, and gave them for the potter's field, as the Lord appointed me." And Jesus stood before the governor, and the governor asked him, saying:
Art thou the King of the Jews
And Jesus said unto him:
Jesus '
Thou sayest.
And when he was accused of the chief priests and elders, he answered nothing. Then said Pilate unto Him:
Hearest Thou not how many things they witness against thee ;ijE
Evangelist JtEmmSfc
And he answered him never a word, insomuch that the governor marvelled greatly. (Mt. 27:7-14)
44. Chor
Befiehl du deine Wege Und was dein Herze krankt Der allertreusten Pflege Des, der den Himmel lenkt. ?' Der Wolken, Luft und Winden Gibt Wege, Lauf und Balm, Der wird auch Wege finden, ; Da dein FuB gehen kann.
45a. Evangelist -''" ?''???-????' . " ? Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen los.ugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonder-lichen vor andern, der hieB Barrabas. Und da sie versammlet waren, sprach Pilatus zu ihnen:
Welchen wollet ihr, daB ich euch losgebe Barrabam oder Jesum, von dem gesaget wird, er sei Christus
Evangelist .
Denn er wuBte wohl, daB sie ihn aus Neid iiberantwortet hatten. Und da er auf dem Richtstuhl saB, schickete sein Weib zu ihm und lieB ihm sagen:
Pilati Weib
Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen!
Aber die Hohenpriester und die Altesten
iiberredeten das Volk, daB sie um Barrabam
bitten sollten und Jesum umbrachten. Da
antwortete nun der Landpfleger und sprach zu
Welchen wollt ihr unter diesen zweien, den
ich euch soil losgeben
Evangelist Sie sprachen:
44. Chorus
Confide your way
And all that sickens your heart SrcsliSvife
To the most faithful carer
He who rules the heavens.
The clouds, air and wind
He determines their paths, ,
He can also find the path .
For your feet to wander.
45a. Evangelist Now at that feast the governor was wont to release unto the people a prisoner, whom they would. And they had then a notable pris?oner, called Barabbas. Therefore when they were gathered together, Pilate said unto them:
Whom will ye that I release unto you
Barabbas, or Jesus which is called Christ
For he knew that for envy they had delivered him. When he was set down on the judgement seat, his wife sent unto him, saying: . -----
Pilate's wife --.-.??. v : .;
Have thou nothing to do with that just man; for I have suffered many things this day in a dream because of him! i!
Evangelist ' ' ' ? ?
But the chief priests and elders persuaded the multitude that they should ask Barabbas and destroy Jesus. The governor answered and said unto them: .jw"
Whether of the twain will ye that I release
unto you
Evangelist They said:
Chor .. Barrabam!
Pilatus sprach zu ihnen:
Was soil ich denn machen mit Jesu, von
dem gesagt wird, er sei Christus vfij
Evangelist '___r
Sic sprachen alle: ?
45b. Chor
Lag ihn kreuzigen! (Mt. 27: 15-22)
46. Chor
Wie wunderbarlich ist doch diese Strafe! Der gute Hirte leidet ftir die Schafe, Die Schuld bezahlt der Herre, der Gerechte, Fur seine Knechte. I
47. Evangelist',
Der Landpfleger sagte:
Was hat er denn Obels getan (Mt. 27: 23a)
48. Sopran ?_'-.:',;
Er hat uns alien wohlgetan, V Den Blinden gab er das Gesicht, Die Lahmen macht er gehend, Er sagt uns seines Vaters Wort, Er trieb die Teufel fort, . .-
Betrubte hat er aufgericht', .,____n
Er nahm die Sunder auf und an. Sonst hat mein Jesus nichts getan.
?49.Sopran ??????. . ----.i
JAus Liebe, y;
VAus Liebe will mein Heiland sterbert, .;
Von einer Siinde weifi er nichts. ,
Da6 das ewige Verderben
Und die Strafe des Gerichts
Nicht auf meiner Seele bliebe;
50a. Evangelist '''
Sie schrieen aber noch mehr und sprachen:
.,50b. Chor
i LaB ihn kreuzigen!
Chorus Barabbas!
Pilate said unto them:
What shall I do then with Jesus which is
called Christ
Evangelist ' '?
They all said unto him: $
45b. Chorus
Let him be crucified! (Mt. 27: 15-22)
46. Chorus
How singular is this chastisement! The good shepherd is suffering for the sheep, The debt is paid by the Lord, the judge, For his servants.
47. Evangelist
And the governor said:
Why, what evil hath he done (Mt."ff: 23k
48. Soprano
He has done well for all of us,
He has given sight to the blind,
He has made the lame walk,
He has told us the word of his father,
He has driven out demons --:??. ' .
He has raised up the afflicted '. ,-
He has taken with him the sinners.
Nothing but this has Jesus done.
49. Soprano ' '?-For love, "
For love my Saviour would die
Of sin he knows nothing. .
So that eternal ruin .'
And the punishment of the court
Do not remain upon my soul.
4 50a. Evangelist
But they cried out the more, saying: ?
50b. Chorus ' ? .-.
Let him be crucified!
50c. Evangelist1 Da aber Pilatus sahe, daG er nichts schaffete, sondern daK ein viel groSer Getiimmel ward, nahm er Wasser und wusch die Hande vor dem Volk und sprach: ,
Ich bin unschuldig an dem Blut dieses -
Gerechten, sehet ihr zu. ?
Evangelist 77
Da antwortete das gauze Volk und sprach:
50d. Chor '
Sein Blut komme uber uns und linsre Kinder.
50e. Evangelist
Da gab er ihnen Barrabam los; aber Jesum Iie8 er geifieln und iiberantwortete ihn, daG er gekreuziget wiirde. (Mt. 27: 23b-26)
Jesu Geiftelung
51. Mt
Erbarm es Gott!
Hier steht der Heiland angebunden.
O GeiGelung, o Schliig, o Wunden!
Ihr Henker, haltet ein! -rt.
Erweichet euch . ., .
Der Seelen Schmerz,
Der Anblick solches Jammers nicht
Ach ja! ihr habt ein Herz, ij
Das mufi der Martersaule gleich
Und noch viel harter sein.
Erbarmt euch, haltet ein!
Konnen Tranen meiner Wangen Nichts erlangen, O, so nehmt mein Herz hinein! Aber laSt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein!
When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multi?tude, saying:
Pilate ... ,
I am innocent of the blood of this justs person: see ye to it. '
Then answered all the people, and said: -
50d. Chorus :
His blood be on us and our children.
50e. Evangelist Then released he Barabbas unto them, and ' when he had scourged Jesus, he delivered him to be crucified. (Mt. 27: 23b-26)
Scourging of Jesus
51. Alto ':
Have mercy on us God!
Here stands the Saviour bound. '--:;
O scourging, O blows, O wounds. ]
You executioners, stop.
Does not the view of such suffering ?.
The pain of the soul
Soften you a
O yes, you have a heart .;
That is like the torture postiT
And is yet still harder. _;
Have mercy, stop! . _?-, .1.
52. Alto
If my tears and plaints
Cannot move you,
O, then take my heart!
But let it at the flood,
When the wounds gently bleed,
Be the chalice!
53a. Evangelist
Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus und sammleten iiber ihn die ganze Schar und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und satzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen:
53b. Chor
GegriiGet seist du, Jiidenkonig!
53c. Evangelist
Und speieten ihn an und nahmen das Rohr
und schlugen damit sein Haupt.
(Mt. 27: 27-30) ,-.?-x-r r,-i-
54. Chor ': O Haupt voll Blut und Wunden, _,j Voll Schmerz und voller Hohn,
O Haupt, zu Spott gebunden ., -Mit einer Dornenkron, '
O Haupt, sonst schon gezieret , Mit hochster Ehr und Zier, kv-v Jetzt aber hoch schimpfieret, '?&&'&,?? GegriiGet seist du mir! ___'?
Du edles Angesichte,
Dafiir sonst schrickt un "
Das groSe Weltgerichte, j
Wie bist du so bespeit;
Wie bist du so erbleichet!
Wer hat dein Augenlicht, :
Dem sonst kein Licht nicht gleichet,
So schandlich zugericht' ?
Simon von Kyrene ' 'm
55. Evangelist
Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und fuhreten ihn hin, da6 sie ihn kreuzigten. Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daS er ihm sein Kreuz trug. (Mt. 27:31-32) '
53a. Evangelist
Then the soldiers of the governor took Jesus
into the common hall, and gathered unto him J
the whole band of soldiers, and stripped him, 1
and put on him a scarlet robe. And when they ,)j had platted a crown of thorns, they put it ?$$$$'
upon his head, and a reed in his right hand, "1
and they bowed the knee before him, and ,i
mocked him, saying: . ;
53b. Chorus ? Hail, King of the Jews!
53c. Evangelist '
And they spit upon him, and took the reed, .] and smote him on the head. (Mt. 27: 27-30),' ";
54. Chorus
O bleeding and wounded head,
Full of pain and scorn.
O head, bound to be mocked
With a crown of thorns,
0 head that has been decorated With highest honour and ornament, But is now deeply disgraced,
1 salute you! .--. .:...
Your noble face
Before which the entire world
Is awed and draws back
How spat upon you are;
How pale you have become."$5ifSjW!E
Who has so wickedly damaged' '?."??
The light of your eyes
Which is like no other light
Simon of Cyrene
55. Evangelist ....... ?
And after that they had mocked him, they took the robe off from him, and put his own raiment on him, and led him away to crucify him. And as they came out, they found a man of Cyrene, Simon by name: him they compelled to bear his cross. (Mt. 27: 31-32)
Ja freilich will in uns das Fleisch und Blut Zum Kreuz gezwungen sein; -
Je mehr es unsrer Seele gut, ------?------
Je herber geht es ein. . ,
57. Bafi "T'r T Komm, siifies Kreuz, so will ich sagen, Mein lesu, gib es immer her! Wird mir mein Leiden einst zu schwer, So hilfst du mir es selber tragen. :
Kreuzigung .; 58a. Evangelist
Und da sie an die Sta'tte kamen mit Namen Golgatha, das ist verdeutschet Schadelstatt, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er's schmeckete, wollte er's nicht trinken. Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum, auf daS erfullet wiirde, das gesagt ist durch den Propheten: "Sie haben meine Kleider unter sich geteilet, und uber mein Gewand haben sie das Los geworfen." Und sie safien allda und hiiteten sein. Und oben zu seinen Hiiupten hefteten sie die Ursach seines Todes beschrieben, niimlich: "Dies ist Jesus, der Juden Konig." Und da wurden zween Morder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. Die aber voriibergingen, lasterten ihn und schiittelten ihre Kopfe und sprachen:
58b.Cior .,-??.
Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!
58c. Evangelist
Desgleichen auch die Hohenpriester spotteten sein samt den Schriftgelehrten und Altesten und sprachen:
58d. Chor
Andern hat er geholfen und kann sich selber
nicht helfen. Ist er der Konig Israel, so steige
er nun vom Kreuz, so wollen wir ihm glauben.
Er hat Gott vertrauet, der erliise ihn nun,
liistet's ihn; denn er hat gesagt: Ich bin Gottes
56. Bass
Yes, verily will flesh and blood'" Be constrained upon the cross; -Our souls are the more raised up, The more bitter its experience.
Come, sweet cross, I would say,
My Jesus, give it to me!
Should my suffering become too heavy,
You will help me to bear it yourself. ;
The Crucifixion
58a. Evangelist ......'' '
And when they were come unto a place called Golgotha, that is to say, a place of a skull, they gave him vinegar to drink mingled with gall. And when he had tasted it, he would not drink. And they crucified him, and parted his garments, casting lots, that it might be fulfilled which was spoken by the prophet, "They parted my garments among them, and upon my ves?ture did they cast lots." And sitting down, they watched him there. And they set up over his head his accusation saying: "This is Jesus King of the Jews." Then were there two thieves cru?cified with him, one on the right hand, and another on the left. And they that passed by reviled Him, wagging their heads, and saying:
r !
58b. Chorus Thou that destroyest the temple of God, and buildest it in three days, save thyself, if thou be the Son of God, come down from the cross!
58c. Evangelist ???????
Likewise also the chief priests mocking him,
with the scribes and elders, said:
58d. Chorus
He saved others, himself he cannot save. If he be the King of Israel, let him now come down from the cross, and we will believe him. He trusted in God, let him deliver him now, if he will have him, for he hath said, I am the Son of God. .;
58e. Evangelist
Desgleichen schmaheten ihn auch die Morder,
die mit ihm gekreuziget waren. (Mt. 27: 33-44)
Ach Golgatha, unselges Golgatha!
Der Herr der Herrlichkeit muS schimpflich
hier verderben.
Der Segen und das Heil der Welt Wird als ein Fluch ans Kreuz gestellt. Der Schopfer Himmels und der Erden Soil Erd und Luft entzogen werden. Die Unschuld muG hier schuldig sterben, Das gehet meiner Seele nah; Ach Golgatha, unselges Golgatha!
60. Alt mit Chor
Sehet, Jesus hat die Hand,
Uns zu fassen, ausgespannt,
Kommt! Wohin in Jesu Armen -:
Sucht Erlosung, nehmt Erbarmen,
Suchet! Wo in Jesu Armen.
Lebet, sterbet, ruhet hier,
Ihr verlass'nen Kuchlein ihr,
Bleibet Wo in Jesu Armen.
61a. Evangelist ---------------.--
Und von der sechsten Stunde an war eine Finsternis iiber das ganze Land bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach: .._
Eli, Eli, lama asabthani
Das ist: "Mein Gott, mein Gott, warum hast du mich verlassen" Etliche aber, die da stunden, da sie das hpreten, sprachen sie:
61b. Chor ' Der rufet dem Elias!;
58e. Evangelist
The thieves also which were crucified with him
cast the same in his teeth. (Mt. 27: 33-44)
59. Alto
O Golgatha, unholy Golgotha! ?'
The Lord of glory had to die infamously there.
The grace and the salvation of the world
Will be crucified as a condemned man. i
The creator of heaven and earth '
Must withdraw from the earth and the air. ;
Innocence must die in guilt here.
This touches my soul.
O Golgatha, unholy Golgotha.
60. Alto with Chants '? Look Jesus has his hand
Stretched out to grasp us,
Come! whither into the arms of Jesus.
Seek salvation, accept forgiveness. ,
Seek! where in the arms of Jesus.
Live, die, find peace here :
You abandoned chick.
Stay where in the arms of Jesus. ?
61 a. Evangelist Now from the sixth hour there was darkness over all the land unto the ninth hour. And about the ninth hour Jesus cried with a loud voice, saying:
Jesus -,.::?,:.? ?.
Eli, Eli, lama sabachtani
Evangelist -?' ' -?" i-':v-'?"?
That is to say, "My God, my God, why hast thou forsaken me" Some of them that stood there, when they heard that, said:
61b. Chorus
This man calleth for Elijah.
ifrA.r 3
(c. Evangelist &5&S Und bald lief einer unter ihnen, nahm einen Schwamm und fiillete ihn mit Essig und steck-ete ihn auf ein Rohr und trankete ihn. Die andern aber sprachen: -
6Id. Chor
Halt! laB sehen, ob Elias komme und ihm helfe-
61 e. Evangelist
Aber Jesus schriee abermal laut und
verschied. (Mt. 27:45-50) ,;
62. Chor ' .
Wenn ich einmal soil scheiden So scheide nicht von mir, Wenn ich den Tod soil leiden, So tritt du denn herfiir! . Wenn mir am allerbangsten '' Wird uni das Herze sein, So reifi mich aus den Angsten
K.,-.? .-. '-;??
63a. Evangelist Und siehe da, der Vorhang im Tempel zerrifi in zwei Stuck von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Graber tiiten sich auf, und stunden auf viel Leiber der Heiligen, die da schliefen, und gin-gen aus den Grabern nach seiner Auferstehung und kamen in die heilige Stadt und erschienen vielen. Aber der Hauptmann und die bei ihm waren und bewahreten lesum, da sie sahen das Erdbeben und was da geschah, erschraken sie sehr und sprachen: "?
63b. Chor
Wahrlich, dieser ist Gottes Sohn gewesen.'
61c. Evangelist
And straightway one of them ran, and took a spunge, and filled it with vinegar, and put it on a reed, and gave him to drink. The rest said:
6Id. Chorus
Let be, let us see whether Elijah will come tg
save him. "
61e. Evangelist..-: .
Jesus, when he had cried again with a loud -voice, yielded up the ghost. (Mt. 27:45-50)...
62. Chorus '??????
When I shall once depart
Do not depart from me. ?
When 1 shall suffer death, $0$$
Precede me on the way! -vJ
When the greatest distress j.
Will assail my heart,
Catch me from my fears
In the power of your anguish and pain!
63a. Evangelist And behold, the veil of the temple was rent in twain, from the top to the bottom, and the earth did quake, and the rocks rent. And the graves were opened, and many bodies of the saints which slept arose, and came out of the graves after his resurrection, and went into the holy city, and appeared unto many. Now when the centurion, and they that were with him, watch?ing Jesus, saw the earthquake, and those things that were done, they feared greatly, saying:
63b. Cliorus
Truly this was the Son of God.
Kreuzabnahme 63c. Evangelist
Und es waren viel Weiber da, die von feme zusahen, die da waren nachgefolget aus Galilaa und hatten ihm gedienet, unter welchen war Maria Magdalena und Maria, die Mutter Jacobi und Joses, und die Mutter der Kinder Zebedai. Am Abend aber kam ein reicher Mann von Arimathia, der hieS Joseph, welcher auch ein Jiinger Jesu war, der ging zu Pilato und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben. (Mt. 27: 51-58)
64. Bafi ": '
Am Abend, da es kiihle war,
Ward Adams Fallen offenbar;
Am Abend driicket ihn der Heiland nieder.'
Am Abend kam die Taube wieder
Und trug ein Olblatt in dem Munde.
O schone Zeit! O Abendstunde!
Der Friedensschlufi ist nun mit Gott gemacht,
Denn Jesus hat sein Kreuz vollbracht.
Sein Leichnam kommt zur Ruh,
Ach! liebe Seele, bitte du, -]
Geh, lasse dir den toten Jesum schenken, -.._,.
O heilsames, o kostlichs Angedenken!
65. Bafi
Mache dich, mein Herze, rein, ;sI
Ich will Jesum selbst begraben. iDenn er soil nunmehr in mir i? Fur und fur sfSp'
Seine siiSe Ruhe haben. Welt, geh aus, laS Jesum ein! ?
66a. Evangelist
Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen, und walzete einen groSen Stein vor die Tiir des Grabes und ging davon. Es war aber allda Maria Magdalena und die andere Maria, . die satzten sich gegen das Grab. Des andern Tages, der da folget nach dem Riisttage, kamen die Hohenpriester und Pharisaer samtlich zu Pilato und sprachen: '
Descent from the Cross
63c. Evangelist
And many women were there (beholding afar off) which followed Jesus from Galilee, minis?tering unto him. Among which was Mary Magdalene, and Mary the mother of lames and John, and the mother of Zebedee's children. When the even was come, there came a rich man of Arimathaea, named Joseph, who also himself was Jesus' disciple: He went to Pilate'-and begged the body of Jesus. Then Pilate ',. commanded the body to be delivered. (Mt. 27:51-58) ... ,
64. Bass I In the evening when it was cool, . The fall of Adam was revealed;
At evening too, the Saviour pressed him down.
At evening the dove returned
Bearing an olive leaf in its mouth.
O lovely time. O evening hour!
The peace is now concluded with God,
For Jesus has endured his cross.
His corpse is at rest,
O dear soul, please " =-?.
Go, that one may give you the dead Jesus, L
0 salvifk and precious memory!
65. Bass
Clean yourself, my heart,
1 want to bury Jesus myself.
May he henceforth in me JZL1L1.'
For ever and ever
Find his peace. ,r '
World withdraw, let Jesus in.
66a. Evangelist &&&?& And when Joseph had taken the body, he wrapped it in a clean linen cloth, and laid it in his own new tomb, which he had hewn out in the rock; and he rolled a great stone to the door of the sepulchre, and departed. And there was Mary Magdalene, and the other Mary, sit?ting over against the sepulchre. Now the next day that followed the day of preparation, the chief priests and Pharisees came together unto Pilate, saying: T
66b. Chor
Herr, wir haben gedacht, daS dieser Verfiihrer sprach, da er noch lebete: Ich will nach dreien Tagen wieder auferstehen. Darum befiehl, dafi man das Grab verwahre bis an den dritten Tag, auf daB nicht seine Jiinger kommen und stehlen inn und sagen zu deni Volk: Er ist auferstanden von den Toten, und werde der letzte Betrug arger denn der erste!
66c. Evangelist
Pilatus sprach zu ihnen:
Da habt ihr die Hiiter; gehet hin und
verwahret's, wie ihr's wisset!
Sie gingen hin und verwahreten das Grab mit
Hiitern und versiegelten den Stein.
(Mt. 27:59-66)
67. Bafi
Nun ist der Herr zur Ruh gebracht.
Mein Jesu, gute Nacht!
Die Miih ist aus, die unsre Siinden ihm
Mein Jesu, giite Nacht! ,w
O selige Gebeine,
Seht, wie ich euch mit Bufis_____________
und Reu beweine, DaS euch mein Fall in solche Not gebracht!
Chor " ? ' -? ' " Mein Jesu, gute Nacht!
66b. Chorus
Sir, we remember that the deceiver said, while he was yet alive, "After three days I will rise again." Command therefore that the sepulchre be made sure, until the third day, lest his disci?ples come by night and steal him away, and say unto the people, he is risen from the dead: so the last error shall be worse than the first.
66c. Evangelist Pilate said unto them:
Ye have a watch, go your way, make it as sure
as ye can.
So they went, and made the sepulchre sure, sealing the stone, and setting a watch. (Mt. 27: 59-66)
67. Bass M:,
Now the Lord is laid to rest.
My Jesus, good night!
Tenor ?.--?
The pains are past,, that pur sins have caused
Him. -???-'" --'?
My Jesus, good night!
O holy bones
See how I weep for you with penitence
and repentance, That 1 too have caused such suffering!
Habt lebenslang
Vor euer Leiden tausend Dank,
Dafi ihr mein Seelenheil so wert geacht'.
Mein Jesu, gute Nacht!
68. Chor -rr.-----------:----------
Wir setzen uns mit Tra'nen nieder Und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh! Ruht, ihr ausgesognen Glieder! Euer Grab und Leichenstein Soil dem angstlichen Gewissen."jjtj ?.; Ein bequemes Ruhekissen -''''''??'.$ Und der Seelen Ruhstatt sein. v
Hochst vergniigt schlummern da die! Augen ein.
For all my life
A thousand thanks for your suffering,
That you have regarded the state of my soul.
My Jesus, good night!
68. Chorus {
We sit down in tears
And call to you in the grave: :
Calm peace, peaceful calm!
Rest your exhausted bones!
Your grave and sepulchre i
May for the tormented soul
Be a soft pillow
And may the soul be at peace.
Contented the eyes have fallen
': asleep. ;
Translation: BIS Records.

Bach Collegium Japan
Masaaki Suzuki,
Gerd Tiirk, Tenor (Evangelist) Peter Kooij, Baritone (Christ) Yukari Nonoshita, Soprano Robin Blaze, Countertenor Makoto Sakurada, Tenor J?? Jochen Kupfer, Bass-baritone
Wednesday Evening, April 9 at 7:30
St. Francis of Assisi Catholic Church Ann Arbor
. S. Bach's
Part i
BWV 244
82nd Performance of the 124th Season
Eighth Annual Divine Expressions Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Steven Whiting and Ralph Williams for leading the Passions Study Club: "Symbols of Suffering."
The positif organs used in this evening's performance are made possible by the Ann Arbor Academy of Early Music and Kalamazoo College.
Large print programs are available upon request.
St. Matthew Passion, BWV 244
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany . Died July 28, 1750 in Leipzig, Germany
Since the earliest days of Christianity, the story of the Crucifixion was chanted as part of the Holy Week liturgy. At first, the entire, text was entrusted to a single reader; by the 13th century at the latest, the parts were dis?tributed among several singers and the read?ing became more and more dramatized. The first polyphonic settings of the Passion date., from the 15th century. After the Protestant ' Reformation, Passion settings using Martin Luther's Bible translation became popular in Germany, and eventually started to expand on the actual Gospel narrative by including newly written commentaries set as arias and choruses. Bach's Passions, therefore, stand on the shoulders of a long line of predeces?sors, drawing on, synthesizing, and tran?scending their accomplishments.
Bach's obituary, signed by his son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola, credited the composer with five Passion settings. One of these, the St. Luke Passion has since been shown not to be by Bach, and two works are lost (for one of these, the text and a few excerpts of the music survive). Of the remaining two, the St. John Passion, completed in 1724 and revised several times, is on a smaller scale and is often characterized by a more direct, dramatic approach. The St. Matthew Passion is longer, calls for one of the vastest ensem?bles ever employed by Bach, and although it certainly doesn't lack drama takes more time for meditative reflection and for ten?der, lyrical feelings.
The music of both passions falls into several distinct categories:
1. Biblical narrative: the words of the Gospel, sung to accompanied recitative by the Evangelist and the various other characters.
2. Turbas, or choruses on Biblical texts containing the responses of the crowd.
3. Arias preceded by accompanied recitatives, using newly written texts
""? that contain commentaries on the "? narrative from an 18th-century j ? Lutheran standpoint. ii3a
4. Chorales, or Lutheran church hymns inserted as moments of communal reflection on the action.
Trie first two of these categories had been part of the Passion from the beginning; the second two were added in the German "oratorio Passions" of the 17th and 18th centuries. As we shall see, Bach sometimes combines several of these categories in the same movement.
The St. Matthew Passion narrates the events of the last days of Jesus's life, from the Last Supper through the Crucifixion, in no fewer than 68 musical numbers. (The earlier editions contained Nos. 1 to 78, but the most recent Barenreiter score, followed in this performance and in these notes, renumbered the movements by combining some of the shorter recitatives and choruses into larger units.) Instead of discussing each number separately, I shall rather focus on the four categories defined above, illustrat?ing the more general points by referring to individual movements in the Passion.
1. Biblical narrative. Bach's recitative differs from earlier Passion recitatives in the highly expressive nature of its melodic line. Far from being the mere imitation of speech that recitative is supposed to be according to most dictionaries, Bach's recitatives (while scrupulously following the prosody of his text) place extreme demands on the singers. The recitatives have a wide vocal range, may
be quite complex harmonically, and contain aria-like elements such as long melismas (groups of notes sung to the same syllable) to mark words of particular importance. Jr. The Evangelist, whose part is by far the most extensive, is much more than a mere narrator: he actively participates in the action; the melodic inflections in his part , offer a personal commentary on the events! His voice often rises to the highest register of the tenor voice, as a sign of intense emo?tion. At the moment where Peter becomes aware of his betrayal of Jesus, he reaches the highest note of his part (B-natural) and bursts out in an expressive melisma to the words "weinete bitterlich" (wept bitterly) [No. 38]. After Jesus's death, the Evangelist announces the earthquake in a highly evoca?tive manner [No. 63]: the highest and the lowest notes of his range appear within the same phrase above a textually descriptive bass line (32nd-note tremolos).
Bach devoted special attention to the part of Jesus. The recitatives are usually accompanied by the continuo group only (organ, cello and double bass); however, when Jesus sings, He is accompanied by all the strings, enveloping His voice with a halo made of sounds (this was another specifically German Passion tradition). It is deeply sym?bolic that during Jesus's last words on the cross, "Eli, Eli, lama asabthani" (My God, My God, why hast thou forsaken me) the strings are silent.
The vocal style of Jesus is mostly simple and understated. A few particularly expressive moments stand out, such as the long arioso at the Last Supper: "Trinket alle daraus" (Drink ye all of it) [No. 11], the angry out?burst "Ich werde den Hirten schlagen" (I will strike the shepherd) [No. 14] or the moment of despair "Meine Seek ist betriib (My soul is troubled) [No. 18].
2. The turbas of the St. Matthew Passion make ample use of two polyphonic tech'fg' niques: imitation (successive entries on the same melodic material) and antiphony (two choruses contrasted or juxtaposed). In Part
I, the turbas are relatively shorter; in Part II they increase in length, especially in the section where Jesus is being mocked by the people. One of the most unforgettable moments in the Passion, is, however, a cho?rus consisting of a single chord. When Pilate asks if he should save Jesus or Barabbas, the people exclaim "Barrabam!" on a diminished-seventh chord (the greatest dissonance known in Bach's time). Shortly thereafter, in response to Pilate's question "What shall I do with Jesus" the chorus sings "Lass ihn kreuzigen" (Have him crucified) to a fugue based on an intensely chromatic theme, whose notes are intertwined in a shape that was perceived as symbolic of the cross [No. 45].
3. Arias preceded by accompanied recitatives. The texts for the arias (usually preceded by accompanied recitatives) were written by Christian Friedrich Henrici (1700-1764), a Leipzig poet known under the pseudonym Picander. The soloists singing the arias represent individual mem?bers of the congregation (or allegorical characters such as the Daughter of Zion) reacting to, and identifying with, the events as they unfold. They are closely related to the preceding narrative. For example, the scene where Peter betrays Jesus is immedi?ately followed by the exceptionally beautiful alto aria "Erbarme dich" (Have mercy), with its famous violin solo [No. 39]. Similarly, the bass aria "Gebt mix meinen Jesum wieder" (Give me back my Jesus) [No. 42] amplifies the story of Judas's repentance in the preceding movement. In the narrative No. 63, Joseph of Arimathea asks Pilate for permission to bury Jesus, and in the last bass aria [No. 65], the soloist sings "Ich will Jesum selbst begraben" (I want to bury Jesus
myself), as if he were Joseph in person. There is a deeper theological significance in this, as the Lutheran religion emphasized the need for a strong personal empathy with
the suffering of Christ. Wt&KBEM_____
All arias contain one or more instru?mental solo parts. These so-called obbligato parts have a structural role in announcing the themes and providing interludes between the vocal sections; however, they have a sec?ond and even more important role in setting the stage emotionally for the aria. The special atmosphere of the soprano aria "Aus Liebe" (For love) [No. 49] is largely due to the spe?cial instrumentation: flute and two oboes da caccia (the Baroque ancestors of the English horn). This aria deserves special mention for the absence of all bass instruments, which creates an ethereal timbre found nowhere else in the Passion.
4. Chorales. German audiences in Bach's time were intimately familiar with the words and the melodies of the chorales, but Bach's har?monizations were new (and quite startling at times). Two melodies recur with some frequency throughout the Passion (although with different words each time): one is "O Haupt voll Blut und Wunden" (O Head, all scarr'd and bleeding), the other "Herzliebster Jesu, was hast du verbrochen" (Ah, Jesus dear, what precept hast Thou broken). Other melodies are used occasionally. Bach chose the melodies and verses carefully to match the dramatic situation at hand. For instance, the scene in which Jesus tells his disciples that one of them will betray him and they protest saying "Herr, bin ich's" (Lord, is it me) [No. 9]', is immediately followed by the chorale "Ich bin's, ich sollte btissen" (It's me, I should repent it) [No. 10]. Similarly, at
'This movement is a famous instance of Bach's musi?cal symbolism, since the words "Herr, bin ich's" are heard exactly 11 times in the chorus. The 12th disciple, Judas, will ask the same question in the recitative following the chorale [No. 11].
the moment of Jesus's death, the chorus sings the chorale uWenn ich einmal soil scheiden" (When comes my hour of parting) [No. 62].
Although most chorales are presented in four-part homophonic harmonizations, some are incorporated into more complex structures. No. 1 and No. 29, the movements opening and closing Part I, are monumental chorale fantasies. In No. ,"Kommt ihr Tochter, helft mir klagen" (Come ye daugh?ters, share my wailing), the two choruses engage in a dialog, with Chorus II interjecting the questions "Wen Wie Was" (Whom How What) etc., and Chorus I answering. Superimposed on this whole structure, which already involves some rather elaborate counterpoint, the children's chorus intones the chorale "O Lamm Gottes, unschuldig" (O Lamb of God unspotted). Later in the work, in the grandiose "O Mensch bewein dein Sunde gross" (O man, thy grievous sins bemoan) [No. 29], the sopranos' simple chorale melody soars high above the poly?phonic lines of the orchestra and the three lower voices of the chorus. Another example of a more complex treatment of a chorale melody may be found in No. 19, where the chorale"Herzliebster Jesu" heard earlier in a simple version as No. 3, reappears embedded into a tenor recitative, 'gggffigpyg
Some movements of the Passion fit none of the above categories. There are a few arias with chorus [Nos. 20, 30, 60] where the emotions of the individual are immediately set off against the responses of the community. This is also true of the duet with chorus "So ist mem Jesus nun gefangen" (Behold, my Jesus now is taken) [No. 27], but there are other circumstances that make this movement even more unusual. At this point in the action, Jesus is being held by the soldiers, and the soprano and the alto lament this misfortune. Three times, the chorus interjects a dramatic plea calling for His release. The first two times the winding melodic lines of the two soloists are totally
unaffected by these passionate calls; the third time, however, the soloists stop when the chorus sings "Lasst ihn, haltet, bindet nicht!" (Loose Him, halt ye, bind him not!) Soon thereafter, the tempo changes from "Andante" to "Vivace," and a magnificent fugato for double chorus unfolds on the words "Sind Blitze, sind Donner in Wolken verschwundenT (Have lightning and thunder disappeared in the clouds) The real meaning of this question becomes clear if we read the rest of the text: are there no forces in nature to avenge this calamity Bach used a power?ful means to express the question mark in music. He left the musical phrase open and unresolved on the dominant, and let a long general rest follow, after which the orchestra enters in a new key, totally unrelated to the preceding music. The passage from here to the end of the movement is one of the most dramatic in the entire Passion.
Finally, a word about the final movement of the Passion, which is definitely "one of a kind." It was a well-established tradition in Germany to conclude Passion settings with a chorus bidding Jesus "Rest well," and Bach ended both the St. John and the St. Matthew Passions that way. (In St. John, there is actually a simple closing chorale after the "Rest well" chorus.) The musical model of the final chorus in St. Matthew, however, is an instrumental one: the rhythmic pattern underlying the chorus is clearly that of the Sarabande, the slow dance familiar from so many of Bach's suites. In this magnificent double chorus, grandiose tutti gestures alternate with softer episodes involving only one of the two choruses, or both in dialog. The final chord of the piece is preceded by a striking dissonance (a so-called appoggiatura) that seems to sum up in a nutshell the tragedy we have been witnessing.
Program note by Peter Laki.
orn in 1954 in Kobe, Japan, Masaaki Suzuki was first hired as a church organist at the age of 12. After graduating from the Univer?sity of Fine Arts and Music in Tokyo with degrees in composition and organ per?formance, he continued to study harpsichord and organ at Sweelink Conservatory in Amsterdam. After earning Soloist Diplomas in both of his instruments in Amsterdam, he was awarded Second Prize in the Harps?ichord Competition (Basso continuo) and Third Prize in the Organ Competition at the Vlaanderen Festival at Bruges, Belgium, in 1980 and 1982, respectively. From 1981-83 he served as harpsichord instructor at the Staatliche Hochschule fur Musik in Duisburg, Germany.
Since his return to Japan, Mr. Suzuki has organized a well-known concert series at the chapel of Shoin Women's University in Kobe, and has acquired an outstanding reputation as a conductor. As the founder and musical director of Bach Collegium Japan since 1990, he has had the opportunity to work regularly _____with renowned European
soloists and ensembles and has been praised for his interpretations of Bach's Cantata series on the BIS label. Mr. Suzuki continues to perform as an organ soloist, appear?ing in summer concerts in France, Italy, Germany, Holland, Switzerland, and Austria, and was
invited by Philippe Herreweghe to guest conduct the Collegium Vocale Gent. Mr. Suzuki currently serves as Professor of Organ, Harpsichord, and Early Music at Tokyo National University of Fine Arts and Music, and was bestowed with Germany's Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik Deutschland in April, 2001.
This evening's performance marks Maestro Masaaki Suzuki's UMS debut.
, erd Turk began his vocal training as a member of the Limburger Domsingknaben, the resident boys choir at Limburg Cathedral in Germany. He went on to study music education, church music and choral direction at the Frankfurt Conservatory of. Music with Helmuth Rilling and Arleen
Auger, and later ; studied Baroque singing and interpre?tation at the :?' renowned Schola ' Cantorum Basiliensis. Mr. Turk has performed at the foremost festivals of early music and has also appeared with various ensembles,
including Germany s leading vocal group, Cantus Coelln, and the French interpreters of Medieval music, Gilles Binchois. Also active in opera, his most recent productions include two works by Monteverdi, the Madrigals at the Nederlandse Reisopera, and Orfeo in Barcelona. Mr. Turk currently teaches at the Schola Cantorum Basiliensis in Switzerland and has over 100 recordings to his credit on the Sony, Erato, BIS, BMG, Virgin, and Harmonia Mundi France labels.
This evening's performance marks Gerd Turk's UMS debut. .?___._,.-
eter Kooij started his musical career at the age of six, as a violinist and choir boy. He continued his studies with Max van Egmond at the Sweelinck Conservatory in Amsterdam, which led to a Diploma Award for solo performance. He has been an active soloist in numerous concerts all over the world in the most celebrated venues, including Concertgebouw Amsterdam, Musikverein
Wien, Carnegie Hall, Royal Albert Hall, Teatro Colon Buenos Aires, Berliner and Kollner Philharmonie, Palais Gamier, Suntory and Casals-Hall Tokyo, under the baton of renowned conduct tors Philippe
Herreweghe, Ton Koopman, Frans Briiggen, Gustav Leonhardt, Rene Jacobs, Sigiswald Kuijken, Roger Norrington and Iwan Fisher. His vast repertoire ranges from Schiitz to Weill and he has recorded over 100 CDs for Philips, Sony, Virgin Classics, Harmonia-Mundi, Erato, EMI and BIS. Mr. Kooij has previously taught at the Sweelinck Conservatorium in Amsterdam and the Musikhochschule in Hannover. He is cur?rently on the faculty at the Tokyo University of Fine Art in Music.
This evening's performance marks Peter Kooij's UM$ debut.
ukari Nonoshita was born in Oita, Japan, and graduated from The Tokyo National University of Fine Arts and Music before travel-_ ing to France, where she received the Diplome Superieur de Concertiste from the Ecole Normale de Musique de Paris.
She is the recipient of numerous awards, including First Prize at Concours de Musique de la Societe Musicale France-Japonais du Kansai, First Prize at Concours International de l'UFAM in Toulouse, and at Concours International du Chant de Rio de Janeiro. Following her debut at Rennes as Cherubino in Le Nozze di Figaro, she has been sought after for roles such as Rosina in Barbiere di Siviglia, Siebel in Gounod's Faust, the Second Woman in Dido and Aeneas,
and Hebe, Iphise and Egle in Rameau's Les Fetes d'Hebe. Ms. Nonoshita is also an advo?cate of contemporary music, performing Toshiro Mayuzumi's Sphenogramme, Berio's Sequenza III and several premieres of new works. She has participated in the Japanese premieres of Chabrier's Une education man-quee and Faure's Penelope. Ms. Nonoshita is featured as the soprano soloist on Camerata Tokyo's recording of
Messe-basse by Faure, conducted by Jean Fournet. She is an Associate Professor of Early Music at the Tokyo National University of Fine Arts and Music, a position she has held since April 2002.
This evening's performance marks Yukari Nonoshita's UMS debut. '?? "
s one of the foremost interpreters
of Purcell, Bach and Handel, 1 Robin Blaze maintains a busy
international touring schedule.
He studied at Magdalen College, Oxford, and won a post-graduate scholar?ship to the Royal College of Music. He regu?larly appears with The Academy of Ancient Music, Bach Collegium Japan, Collegium Vocale, The English Concert, The Gabrieli
__________Consort, The King's
Consort, Orchestra of the Age of Enlightenment, and RIAS Kammerchor. Other engagements have included per?formances with the National Symphony Orchestra in Washington, DC,
The St Paul Chamber Orchestra, La Chapelle Royale, City of London Sinfonia, CM90, and Tafelmusik. His opera engagements have s, included Bertarido in Glyndebourne's pro-i duction of Rodelinda and Anfinomo in Ritorno d'Ulisse in Patria at the Teatro Sao Carlos, Lisbon. Chamber music is an impor?tant part of his musical life, and Robin regu?larly joins forces with Concordia, Fretwork and The Palladian Ensemble. With a growing number of acclaimed recordings to his credit, Mr. Blaze enjoys fruitful relationships with BIS and Hyperion records. In addition to Bach Collegium Japan's current tour, this season includes his English National Opera debut as Arsamenes in Xerxes, as well as a joint recital at Wigmore Hall with soprano Carolyn Sampson. Mr. Blaze is a Professor of Vocal Studies at the Royal College of Music.
This evening's performance marks Robin Blaze's UMS debut.
akoto Sakurada studied with Professor Tadahiko Hirano at Tokyo National University of Fine Arts and Music and with Professor Gianni Fabbrini at the National Conservatory in Bologna. He has been active with Bach Collegium Japan since 1995, and frequently collaborates with ensembles such as Ottavio, Dantone Accademia Bizantina, Ensemble Concerto, La Stagione Armonica, and I Madrigalisti Ambrosiani. Mr.
Sakuradas roles include the Evangelist in St. John Passion, the tenor ?" solo in St. Matthew} Passion, J.S. Bach's Magnificat and Cantatas, Handel's Messiah, the Mozart Requiem, Die
Schopfung by Haydn, and Monteverdi's Vespro della Beata Vergine. He is also well versed in opera, with a wide repertoire .. including Don Ottavio in Don Giovanni, Don Basilio in Le Nozze di Figaro, Edoardo in Cambiale di Matrimonio, and Don Ramiro in La Cenerentola. Mr. Sakurada is the Second Prize winner of the 2002 International Early Music Concours in Brugge.
This evening's performance marks Makoto ' Sakurada's UMS debut.
1 ochen Kupfer, born 1969 in Grimma, Germany, studied with Professor Helga Former at the Musikhochschule in Leipzig, as well as with Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. He went on to garner numerous awards, including First Prize at the 1991 Mozart-Fest-Wettbewerb in Wiirzburg, Special Award of the Academia Vocalis Tirolensis (1991), and a prize at the International J.S. Bach Competition in Leipzig (1992). Mr. Kupfer is active in opera, having performed major roles of Mozart, Wagner, and Rossini at the Staatstheater Meiningen and Semperoper Dresden. He also participated in the world premiere of Peter Ruzicka's Celan and in new productions of Britten's A Midsummer Night's Dream and Penderecki's Der Teufel von Loudun. Concert appearances include Mahler's
Lieder eines fahrenden
Gesellen with the Gewandhausorchester Leipzig, conducted by Kurt Masur, and Des Knaben Wunderhom with the Amsterdam Concertgebouw, under the baton of Hans Vonk. Mr. Kupfer is also a pro-
ponent of the lieder repertoire, with recitals in Amsterdam, Utretcht, Leipzig, and Dresden. His recording of lieder by Franz Schreker and Schumann can be found on Channel Classics, fjsjpj
This evening's performance marks Jochen
asaaki Suzuki founded the Bach Collegium Japan (BCJ) in 1990, with the aim of introducing ! Japanese audiences to perfor?mances of great Baroque works on period instruments. As the name of the ensemble indicates, its primary focus is on the works of Johann Sebastian Bach and the composers of German Protestant music who preceded and influenced him, such as HIKPH Buxtehude, Schiitz, Schein and Bohm.
The BCJ comprises both a Baroque orchestra and chorus. The ensemble's major activities include an annual concert series of Bach's cantatas and major works such as the St. Matthew Passion, Handel's Messiah, Monteverdi's Vespers of the Blessed Virgin Mary, and smaller programs for soloists or small vocal ensembles. The BCJ is based in Tokyo and Kobe but performs throughout Japan, and often features European artists.
In 2000, the 250th anniversary of Bach's death, the BCJ appeared at major festivals in Santiago de Compostela, Tel Aviv, and Leipzig. The 0102 season included a highly successful concert tour of Italy and Spain, with appear?ances in Milan, Rome, Florence, Treviso, Ordino, Barcelona, Salamanca, San Sebastian, and Valencia. The BCJ has received numerous distinctions, including the 29th Mobil Music Award (1999), the Cannes MIDEM Award (1999), Japan's Record Academy Award (1999) and the 24th Ongakuno-tomo Award (2000).
This evenings performance marks Bach Collegium Japan's UMS debut.
Bach Collegium Japan
Masaaki Suzuki, Conductor
Gerd Turk, Tenor (Evangelist) ;
Peter Kooij, Baritone (Christ)
Yukari Nonoshita, Soprano . ?
Robin Blaze, Countertenor
Makoto Sakurada, Tenor
Jochen Kupfer, Bass-baritone (Judas, Pilate)
Soprano In Ripieno (supplementary orchestral reinforcement)
Robin Blaze
Chorus. Soprano
Yoshie Hida (Anrilla II) Naoco Kaketa (Ancilla I) Mikiko Suzuki
Alto W"" Hiroya Aoki Chiharu Takahashi Yukie Tamura
Kazunori Nomura Michio Shimada Yosuke Taniguchi
Yoshiya Hida Naoki Sasaki & Yusuke Watanabe (Pontifex II)
Orchestra I Flute
Kiyomi Suga Liliko Maeda
Oboe and English Horn
Masamitsu San'nomiya Atsuko Ozaki
Violin I
Ryo Terakado, Leader Yuko Araki Yukie Yamaguchi
Violin II
Yuko Takeshima Paul Herrera Luna Oda
Yoshiko Morita Satoki Nagaoka
Continuo Cello
Hidemi Suzuki
Seiji Nishizawa
Naoko Imai
Chorus II Soprano
Minae Fujisaki Mihoko Hoshikawa
(Uxor Pilati) Takako Onodera
Tamaki Suzuki Sumihito Uesugi
(Testis I) Makiko Yamashita
Satoshi Mizukoshi
(Testis II) Makoto Sakurada Jun Suzuki
Daisuke Fujii i Tetsuya Oi Chiyuki Urano (Petrus, Pontifex I)
Orchestra II Flute
Kanae Kikuchi Satoko Ota
Oboe and English Horn
Koji Ezaki Yukari Maehashi
Violin I
Azumi Takada, Leader Takeshi Kiriyama Izumi Sato
Violin II
Mika Akiha Mari Ono Satomi Watanabe
Viola .;
Amiko Watabe ; Mina Fukazawa
Continuo CeUo
Mime Yamahiro
Shigeru Sakuraj
Organ ? Masato Suzuki
Kiyotaka Dosaka
Viola da gamba Hiroshi Fukuzawa
Toshihiko Umeoka, Tuner
BCJ StaffKyoko Ohtomi, Kazunori Fukahata
Bach Collegium Japan US Tour 2003 is supported by:
Agency for Cultural Affairs of Japan The Japan Foundation The Kao Foundation For Arts And Sciences
The Mitsubishi Trust Foundation
for the Arts
The Nomura Cultural Foundation Rohm Music Foundation Northwest Airlines jjjH
NEC Suntory
Tokyo Opera City Cultural Foundation
Special thanks to the BCJ Audiences' in Japan who contributed to the funding for this tour.
National City
present y
Matthias Goernell
Eric Schneider, Piano
Thursday Evening, April 10 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
@@@@Viola, D. 786
-?--?-? .
' Nacht und Traume, D. 827 .
Wehmut, D. 772 .____
Der Zwerg, D. 771 , Auf dem Wasser zu singen, D. 774 , Auf der Bruck, D. 853 p-
wy -'ft',
r in
!' Liebesbotschaft
[ NachtgruB
I Drei Lieder nach Gedichten von Michelangelo
;? No. 1: Wohl denk ich oft an mein vergangnes Leben f: No. 2: Alles endet, was entstehet
Keine gleicht von alien Schonen Sonne der Schlummerlosen Morgenstimmung
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.
83rd Performance of the 124th Season
Eighth Annual Song Recital Series
This performance is sponsored by National City.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Matthias Goerne appears by arrangement with Colbert Artists Management, Inc
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Large print programs are available upon request.
o UMS season of song recitals would proceed very far without Franz Schubert's name appearing. As I have said in these pages on i any of the occasions when we are treated to his songs, we must always remem?ber that our very idea of what an art-song is was created by Schubert. More than 600 songs in a short lifetime is a contribution we cannot ignore, and still it must not be inferred that because Schubert was so prolific that the ? quality of his inventions was inconsistent ori in any way lacking. This was a man of infi?nite imagination. Accompanists believe they have discovered all of Schubert's keyboard patterns, and then find two dozen more. Singers believe Schubert's melodic fount has been drained, and then discover yet another immortal tune. All the Schubert songs we hear tonight were written in the space of a year, between 1822-23. As a result, we can better appreciate how the composer was finding new ways to clothe poems with music, new forms, and new relationships between piano and voice.. ,-
There are only five songs to texts of von Collin, three of which we enjoy this evening. The poet was Schubert's link to the Romantic Movement in philosophy, and as a result, we can understand that this period in Schubert's life was his most nature-oriented. "Nacht und Traume" is a daring way to begin a con?cert, for the demands it places on the per?formers for dynamic and rhythmic control are legendary. Schubert indicates pianissimo and very slow at the outset, and these direc?tions remain in force for the entire song. This was a bold metaphysical statement for its time. The briefest song of this opening group, "Wehmut," is only 39 measures, and thus shows us Schubert at his most efficient, most compact. Each sentence in this poem is given special treatment, be it harmonically, rhythmically, or with a new piano accompa?niment. That most romantic notion of feeling
so wohl, so weh (so good, so bad) is perfectly captured here. "Der Zwerg" is the first of two ballads this evening. The original title of this poem was "Betrayal," and as you read its plot, you will understand its justification. This song might be compared to the famous Erlkonig, but the chief difference between the two is the lack of sections. Regardless of who is speaking or what is happening, the insistent tremolo figure in the accompaniment keeps intensity at a fever pitch, as both the song and the dwarf sweep out of range.
"Auf dem Wasser zu singen" and "Auf der Bruck" are showpieces in different ways. Both adhere to the oldest of all Schubert architec?tures: the strophic song. This was a form Schubert used to his dying day, and yet the examples never sound tired or lacking in invention. Water was always a source of inspiration for Schubert; witness the fact that a brook is actually a character in his song-cycle, Die Schone Miillerin. No story is told here, but philosophy and love of nature are everywhere. No lovelier three strophes were ever penned by Schubert or anyone else. Less familiar but equally deserving is this group's last song. A long and athletic experience (especially for the pianist!), "Auf der Bruck" easily demonstrates Schubert's ability to create a wonderful motor monotony and simultaneously adapt the voice part for each stanza as necessary. This is an exhila?rating ride!
Our program's first half closes with a most unusual and extended song, "Viola." Schubert called this a "flower-ballad," the first part of the form relating to its characters, the second relating to its story-telling, which is certainly as effective as in "The Dwarf" heard earlier this evening, although distinctly less dramatic. No less than a dozen sections form this unique work, with repeated returns to the initial refrain. This was an experiment for Schubert, and something he did not attempt again. This requires interpretative decisions
at every turn, for it is not easy to maintain the long line in such an extended work. Schober's name may not be well known to German scholars, but for all of us who love song, the poet of "An die Musik" has been forever immortalized by Schubert. , -???-
It is entirely appropriate to devote half of ' Mr. Goerne's program this evening to songs of Hugo Wolf. We must thank Mr. Goerne for helping us to commemorate the centennial of the composer's death. The world of German lieder would never be the same without Wolf's songs; for some of us he represents the zenith of this genre created by his beloved and admired Schubert only 75 years earlier.
In a letter to his closest friend, Melanie Kochert, Hugo Wolf complains that "I was not understood at all. My audience busied themselves with musical matters, and thereby forgot what is original in my music-poetic conceptions." These words directly from the composer serve ideally to demonstrate the essence of Wolf's legacy to all of us who enjoy songs. These are not creations to be judged on purely musical terms thus his complaint above. Wolf is interested exclusively in the degree to which his songs succeed in recreating the poem's words, moods, and inner meanings. The text is the alpha and omega of his creations, and through the power of Wolf's insight and imagination, the words and music fuse into an organic entity. No other composer in the German language was as obsessed with this fusion or consistently successful in achieving it.
This is not to say that other composers did not aspire to satisfying the poem's demands and requirements. Clearly Schubert, Schumann and Mahler were interested in clothing the poetry with appropriate musical settings. But Wolf is distinguished from this company by his utter surrender to the poets of his choice. His method of composing was unique, for he would discover a poet and totally immerse himself in only that poet
until he felt he had penetrated the poet's psyche. This might take weeks, or more often, months, to achieve. Only when Wolf consid?ered this identification complete did he begin to invent the music to bring the poem to life. He would remain with that writer until his ideas were exhausted, not even glancing at a different author during the whole expe?rience. Thus, instead of opus 1 or opus 2, we have the Morike songbook, the Goethe songbook, the Eichendorff songbook, and so on. More proof of this fascination with text can be found in the fact that even as a strug?gling young composer trying to establish a relationship with a publisher, Wolf had the temerity to insist upon calling his first pub?lished songbook Fifty-three Poems of Morike Set to Music by Hugo Wolf, not "Songs of Hugo Wolf on Poems of Morike."
The Wolf portion of tonight's program offers us rarely performed samples of his first creations, posthumously published rela?tively recently. Robert Reinick (1805-52) is only a minor poet of the romantic school, and as such is certainly not to be compared to the poetic giants mentioned earlier, but in his verses he seems to coax Wolf into dis?playing the lighter, charming side of his nature. "Liebesbotschaft" and "Nachtgrufi" are both from 1883 the composer was only 23 and while obviously not examples of Wolf's mature insight into texts, nor his soon-to-be developed fastidiousness in selecting texts, both of these lovely songs clearly point the way to what Wolf would soon become. Perfect prosody is already in evidence; German speakers will hear their language exactly as it would be spoken. The many stanzas of "Nachtgrufi" would certainly have appealed to Schubert, but we must wonder if the music would have been altered for each strophe as Wolf saw fit to do.
1897 witnessed the end of Hugo Wolf's sanity. His last published works not a songbook, but merely a trio of songs were his only
settings of poems of Michelangelo. The 16th-century painter, sculptor, and architect was also a considerable poet, and Wolf could easily identify with the Italian's disappoint?ments, frustrations, and yearnings. These are Wolf's only voice parts written in the bass clef, for, as the composer told a friend, "the sculptor must sing bass." The first song would have particularly attracted Wolf, for Michelangelo's words about his problematic career could speak equally accurately of the composer's vicissitudes in gaining acceptance from critics and public alike. The core of this triptych is its second song, "Alles endet," a paean to hopelessness and cynicism, sung by departed spirits. This is a strange and ter?rifying masterpiece, and Wolf wrote of it to a friend: "I am afraid of this composition; it makes me apprehensive about my own sani?ty." Darkness pervades, created by the lowest vocal range of the set as well as a keyboard part that is always below middle C. Only four measures offer relief from the shadows, when the spirits speak of having been vul?nerable human beings. In the end, blackness overcomes everything and even Death itself expires. A love song closes the group, as the poet emerges from dark confusion and despair to finally understand his addiction to one particular pair of eyes. Chromaticism abounds here, along with rhapsodic lines that ask but do not answer rhetorical ques?tions. Finally, the poet finds rest with his acceptance of his susceptibility to beauty. These three last songs were penned in March of 1897, and before the year was out, Wolf would sink into madness forever, dying mis?erably in a public asylum.
Lest tonight's program conclude on such a funereal note, our performers backtrack just a year to Wolf's only songs on texts of Lord Byron, written in December of 1896. This unjustly neglected pair of songs might be two adjacent canvases in a gallery: a warm summer seascape and an icy cold lunar
landscape. "Keine gleicht von alien Schonen" is a sumptuous, supple hymn to the beloved, very colorful as it traverses myriad piano textures and keys with seemingly improvised rhythms for the voice. "Sonne der Schlummerlosen" exploits the extreme regis?ters, using distance between piano and voice to create a haunting nocturne. Our octet of Wolf songs ends as it began, with a text of Reinick, also composed in 1896. This uplifting anthem about darkness giving way to light could refer to a single dawn or a soul's life?time struggle for redemption, but in either case, victory is the watchword. Wolf felt a need to change Reinick's title of "Morning Song" to "Morning Mood" in order to gain the compositional freedom he required for this text. When the composer performed this in February of 1897, his success was imme?diate and total, but it was to be Wolf's last public appearance as accompanist of his songs.
Program note by Martin Katz.
? n concert, opera, on recordings and most notably in recital, Matthias Goerne has received worldwide praise for his warm, fluid baritone and his __ _ profound artistry in the interpretation of lieder. In recent seasons Mr. Goerne has performed at the Ravinia and Tanglewood festivals with pianists Christoph Eschenbach and Alfred Brendel. He has appeared with the Los Angeles Philharmonic, National Symphony, Minnesota Orchestra and on tour with Ricardo Chailly and the Royal Concertgebouw Orchestra. Following his New York debut in 1996 at the Frick Collection, Mr. Goerne has returned regularly to New York for recitals in Alice Tully Hall and Carnegie Hall, where he performed with Alfred Brendel to great acclaim in 1999.
Mr. Goerne's discography includes a highly praised recording of Schubert lieder with pianist Andreas Haefliger and a Schumann recording with Vladimir
Ashkenazy for LondonDecca that received ' Germany's Schallplatten-Kritik Prize. His Schubert disc with Andreas Haefliger received the Diapaison d'Or in France and the Echo Klassik Award from the German Phonographic Academy in 1997. Highlights among his many LondonDecca recordings are the world-premiere recording of Walter Braunfels's opera M
Die Vogel, Franz Schrecker's Die Gezeichneten, and the Deutsche Sinfonie of Hanns Eisler. Additional releases include opera arias with the Swedish Radio Symphony Orchestra under Manfred Honeck and
Hugo Wolf s Orchesterlieder with Ricardo Chailly and the Royal Concertgebouw Orchestra. For Hyperion Records, he has recorded Schubert works with pianist Graham Johnson, and for Teldec, Bach's St. Matthew Passion with Nikolaus Harnoncourt.
Matthias Goerne grew up in Weimar and began his singing career as a member of the children's choir of the Civic Opera. He began serious voice study in 1985 with Hans Meyer in Leipzig, and continued with master artists Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. He was recently named an honorary member of the Royal Academy in London, and appointed Professor of Lied Interpretation at the Robert Schumann Academy in Dusseldorf. j__
Tonight's recital marks Matthias Goerne's second appearance under UMS auspices. Mr. Goerne made his UMS debut in April 2001 as soloist with Amsterdam's Royal Concertgebouw Orchestra.
ianist Eric Schneider received his degree in performance in Cologne, Germany. Having always been fascinated by the art of lied, he subsequently studied with Hartmut H611.
Eric Schneider plays lieder at many of Europe's most prestigious venues, having performed at Wigmore Hall in London, the Concertgebouw in Amsterdam, the Philharmonie Berlin, the Philharmonie Cologne, the Konzerthaus Vienna, at Gidon Kremer's Lockenhaus Festival and the Schubertiade Feldkirch. In the US he has performed in Los Angeles, Washington, DC, New York and Philadelphia with Matthias Goerne and Christine Schafer.
A native of Germany and grandson of the author Albrecht Schaeffer, who emigrated to the US in 1938, Mr. Schneider has several recordings among his credits, including Goethe lieder by various composers and a complete recording of Anton Webern's lieder, both with Christiane Oelze; Brahms's Die schone Magelone with Hans-Peter Blochwitz and the actress Cornelia Froboess, and Poulenc lieder with bass baritone Werner van Mechelen. In 1998, Decca released a . complete recording of Hanns Eisler's Hollywood Liederbuch with baritone Matthias Goerne, which was nominated for a 1999 j Grammy Award. His most recent recording; -Franz Schubert's Die Schone Miillerin also with Matthias Goerne was released in September 2002.
In addition to his active concert schedule, Eric Schneider teaches lied at the Hochschule fur Musik "Hanns Eisler" in Berlin.
Tonight's recital marks Eric Schneider's UMS debut.
Robert and Pearson Macek
An Evening with Audra McDonald
Audra McDonald, Soprano
Ted Sperling, Music Director and Piano Mary Ann McSweeney, Bass Warren Odze, Drums
with guest
Celia Keenan-Bolger, Vocalist
elia Keenan-Bolger is thrilled to be back in Ann Arbor. She is a graduate of the University of Michigan Musical Theatre Department and performed in Pippin, A Midsummer Night's Dream, Anything 1 Goes, The Crucible, Candide, A Little Night Music,
Balm in Gilead, and Cabaret during her four years of study.
Her Off-Broadway credits include Kindertransport (Manhattan
Theatre Club), Little Fish (dir. Graciela Daniele), and Summer of 42 (dir. Gabriel Barre). She has performed in New York readings and workshops of Can't Help Falling in Love (dir. Christopher Ashley), Something To Say (Manhattan Theatre Club), Valadon (York Theatre Co.), and Wicked (dir. Joe Mantello). Regionally, she has worked at The Kennedy Center, Pittsburgh Civic Light Opera, Palo Alto's Theatreworks, and the Intiman
Theatre (upcoming). Television credits include The Education ofMax Bickford. She was recently featured in the American Songbook Series at Lincoln Center performing the music and lyrics of Adam Guettel, whom she will spend the summer with working on his new project The Light in the Piazza.
As a student, Celia Keenan-Bolger participated in the UMS Education master class held with the University of Michigan School of Music during Audra McDonald's UMS residency in 2000. Tonight's performance marks Ms. Keenan-Bolger's UMS debut.
ums ;
Robert and Pearson Macek
An Evening with Audra McDonald
Audra McDonald, Soprano ?},
? -? ? ivi
Ted Sperling, Music Director and Piano Mary Ann McSweeney, Bass Warren Odze, Drums
with guest . ? ? ???---.?.. .r.-j-i Celia Keenan-Bolger, Vocalist
Friday Evening, April 18 at 8:00 Michigan Theater Ann Arbor
Tonight s program will be announced by the artists from the stage.
84th Performance of the 124th Season
Ninth Annual Jazz Series
'?;?, i
"'"? ' l
Tir photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with the generous support of Robert and Pearson Macek.
Presented with support from the National Endowment for the 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.
Additional support provided by media sponsor WEMU 89.1 FM.
Special thanks to Brent Wagner and the UM School of Music Musical Theatre 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.
Audra McDonald appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
y the time Audra McDonald was 28, she had made Broadway hisj tory, winning Tony Awards for Carousel, Master Class, and Ragtime. She earned her fourth Tony nom-JJj ination in six years for Marie Christine, a musical re-telling of the Medea myth, created for her by Michael John LaChiusa. Since then, Audra has distinguished herself as a concert performer, recording artist, and dramatic actress, adding an Emmy nomination to her expanding list of critical and popular acclaim. With Happy Songs, her third solo album, Audra celebrates the birth of her daughter. The releases of Way Back to Paradise named "Adult Record of the Year" by the New York Times in 1998, and the best-selling How Glory Goes in 2000, launched Audra's solo recording career and the beginning of an exclusive contract with Nonesuch Records.
Following her Emmy-nominated per?formance in Wit, the HBO film of Margaret Edson's Pulitzer Prize-winning play directed by Mike Nichols and starring Emma Thompson, Audra returns to network televi?sion in the political drama Mister Sterling. The production, from NBC Studios and Universal Television, debuted in January 2003 to critical acclaim. CBS's Peabody Award-winning Having Our Say: The Delaney Sisters' First 100 Years introduced Audra to television audiences as a dramatic actress. She went on to co-star with Victor Garber and Kathy Bates in the critically lauded ABCDisney production of Annie. She has guest-starred on NBC's Law and Order: Special Victims Unit and Homicide, has been profiled by 60 Minutes and The Today Show and was a frequent guest on The Rosie O'Donnell Show. Audra opened the 2001 seasons of both the Los Angeles Philharmonic and the San Francisco Symphony with the
debut of new arrangements by Larry Hochman of music by Duke Ellington, com?missioned by the two orchestras for Audra. Born into a musical family, Audra grew up in Fresno, California. She received her classical vocal training at The Juilliard School, graduating in 1993.
Tonight's performance marks Audra McDonald's second appearance under UMS auspices. Ms. McDonald made her UMS debut in March 2000 at the Power Center.
Audra McDonald
J. S. Bach
.i -..-
Passio Seamdum Johannem
Saturday, April 19, 8:00 pm Michigan Theater
1. Chorus --. .?.?? ..?--
Herr, unser Herrscher, dessen Ruhm In alien Landen herrlich ist! Zeig uns durch deine Passion, Dafi du, der wahre Gottessohn, Zu aller Zeit,
Auch in der grofiten Niedrigkeit, Verherrlicht worden bist!
2a. Evangelist -. ._
Jesus ging mit seinen Jiingern iiber den Bach Kidron, da war ein Garten, darein ging Jesus und . seine Jiinger. Judas aber, der ihn verriet, wufite den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jiingern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester, ? und Pharisaer Diener, kommt er dahin mit Fakkeln, Lampen und mit Waffen. Als nun Jesus wufite alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:,
Wen suchet ihft";
Sie antworteten ihm:
2b. Chorus "' Jesum von Nazareth,
2c. Evangelist ?' Jesus spricht zu ihnen:
Jesus Ich bin's.'
Evangelist ?
Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin's, wichen sie zurukke und tielen zu Boden. Da fragete er sie abermal: ;
Wen suchet ihr'
Sie aber sprachen:
2d. Chorus
Jesum von Nazareth.
Lord, our master,
Whose glory fills the whole earth,
Show us by your Passion
That you, the true eternal
Son of God, ?'
Even in the deepest humiliation.
Jesus went out with his disciples and crossed the Kidron ravine. There was a garden there; Jesus and his disciples went into it. The place was known to ludas, his betrayer, because lesus had often met there with his disciples. So Judas came with a detachment of soldiers, and police from the .fchief priests and the Pharisees, equipped with lanterns, torches, and weapons, and they made their way to the garden. Jesus, knowing all that was coming upon him, went out to them and asked:
Who is it you want
They answered;
lesus of Nazareth.
And there stood Judas the traitor with them. When he said,"l am he," they drew back and fell to the ground. Again Jesus asked:
Who is it you want .
They answered:
Jesus of Nazareth.
2e. Evangelist Jesus antwortete:
Ich habs euch gesagt, daB ichs sei; suchet ihr ?. ;? denn mich, so lasset diese gehen!
3. Chorale '? O groSe Lieb, o Lieb ohn alle MaGe,
Die dich gebracht auf diese MarterstraSe! Ich lebte mit der Welt in Lust und Freuden, Und du mufit leiden!
4. Evangelist ?' Auf dafi das Wort erfiillet wurde, welches er
sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hiefi Malchus. Da sprach Jesus zu Petro:
Stekke dein Schwert in die Scheide! Soil ich den Kelch nicht trinken, den mir mein Vater gegeben hat
5. Chorale
Dein Will gescheh, Herr Gott, zugleidr Auf Erden wie im Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsamsein in Lieb und Leid; Wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut!
6. Evangelist
Die Schar aber und der Oberhauptmann und die ? Diener der Jiiden nahmen Jesum und bunden ihn: und fiihreten ihn aufs erste zu Hannas, der war Kaiphas Schwaher, welcher des Jahres Hoher-priester war. Es war aber Kaiphas, der den Jiiden riet, es ware gut, daG ein Mensch wurde umbracht fur das Volk.
7. Aria Alto '
Von den Strikken meiner Siinden
Mich zu entbinden,
Wird mein Heil gebunden. "?iJj8p
Mich von alien Lasterbeul " '"
Vollig zu heilen,
LiiGt er sich verwunden. j
Jesus said:
1 have told you that I am he. If I am the man you want, let these others go!
O measureless Love,
To have brought you to this way of the cross,
To suffer while 1 lived heedless
In the world of pleasure.
This was to make good his words: I have not lost one of those whom thou gavest me. Thereupon Simon Peter drew the sword he was wearing and struck at the High Priest's servant, cutting off his right ear. The servant's name was Malchus. Jesus said to Peter: , ' ?
Sheathe your sword. This is the cup my Fath has given me; shall I not drink it
L V'y'"
May your will be done
On earth as in Heaven, Lord God
Make us patient in suffering,
Obedient in everything
Guide and protect
All rebellious flesh and blood! :
The troops with their commander, and the Jewish police, now arrested Jesus and secured him. They took him first to Annas. Annas was father-in-law of Caiaphas, the High Priest for that year the same Caiaphas who had advised the Jews that it would be in their interest if one man died for the whole people.
To free me
From the bond of my sin . .i My Saviour is bound. 5
He gives his body to be wounded; To heal the infection ft
Of my wickedness. __.._____;
(St. John 18: 1-14)
8. Evangelist ;
Simon Petrus aber folgete Jesu nach und efri?"; ander Junger.
9. Aria Soprano
Ich folge dir gleichfalls mit freudigen Schrittten
Und lasse dich nicht,
Mein Leben, mein Licht.
Befordre den Lauf ..:
Und hore nicht auf, _?
Selbst an mir zu ziehen, zu schieben, zu Bfttenf
10. Evangelist
Derselbigt lunger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters i Palast. Petrus aber stund drauBen fur der Tur. Da ging der andere Jiinger der dem Hohenpriester bekannt war, hinaus und redete mit der Turhuterin1 und fuhrete Petrum hinein. Da sprach die Magd, '. die Turhuterin, zu Petro: ____:_________ '
Bist du nicht dieses Menschen Junger einer Evangelist ij
Peter '?;:)
Ich bins nicht!
Evangelist ,
Es stunden aber die Knechte und Diener und hatten ein Kohlfeu'r gemacht (denn es war kalt) und warmeten sich. Petrus aber stund bei ihnen und warmete sich. Aber der Hohepriester fragte Jesum
um seine Junger und um seine Lehre. Jesus--------
antwortete ihm:
Ich habe frei, offentlich geredet fur der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Jiiden zusammenkommen, und habe nichts im Vergborgnen geredt. Was fragest du mich darum Frage die darum, die gehoret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe. ?._.;
Evangelist ..,
Als er aber solches redete, gab der Diener einer, die dabeistunden; Jesu einen Bakkenstreich und sprach:
Solltest du dem Hohenpriester also antworten
Jesus was followed by Simon Peter and anoth disciple.
I follow you with eager steps
And will not forsake you,
My light and my life.
Show me the way,
Urge me on,
Ask me to go with you always.
@@@@This disciple, who was acquainted with the High Priest, went with lesus into the High Priest's :
courtyard, but Peter halted at the door outside. So the other disciple, the High Priest's acquaintance, went out again and spoke to the woman at the door, and brought Peter in. The maid on duty at the door said to Peter: .?-.?
Are you another of this man's disciples ?
@@@@I am not!
The servants and the police had made a charcoal fire, because it was cold, and were standing around it warming themselves. And Peter too was standing with them, sharing the warmth. The High Priest questioned Jesus about his disciples and about what he taught. Jesus replied:
1 have spoken openly to all the world. I have . j-always taught in the synagogue and in the temple,' "? where all Jews congregate. I have said nothing in secret. Why question me Ask my listeners what I have told them; they know what 1 have said.
When he said this, one of the officers struck him on the face, exclaiming:
Is that the way to answer the High Priest
Jesus aber antwortet
Hab ich iibel geredt, so beweise es, dafi es b6se
sei, hab ich aber recht geredt, was schlagest du mich
11. Chorale
Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So iibel zugericht'
Du bist ja nicht ein Siindeiii
Wie wir und unsre Kinder,
Von Missetaten weifit du nicht.
@@@@Ich, ich und meine Sunden, Die sich wie Kornlein finden Des Sandes an dem Meer, Die haben dir erreget j Das Elend, das dich schlaget, Und das betriibte Marterheer.
12a. Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und warmete sich; da sprachen sie zu ihm:
12b. Chorus_______________
Bist du nicht seiner Jtinger einer
12c. Evangelist :
Er leugnete aber und sprach:
Ich bins nicht..
Spricht des Hohenpriesters Knecht' einer,
ein Gefreundter des, dem Petrus das Ohr abgehauen
Servant '
Sahe ich dich nicht im Garten bei ihm ' ? ?' ?
Evangelist "_
Da verleugnete Petrus abermal, und alsobald .Eb3 krahete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.
lesus replied:
If I spoke amiss, state it in evidence; if I spoke well, why strike me :
Vrtio has hit you like that,
My Saviour,
And ill-treated you
After all, you are not a sinner
Like us and our children;
You have never done anything wrong
After all, you are not a sinner, __
As grains of sand,
Who have brought down on you
This host of sorrows
And torments.
So Annas sent him bound to Caiaphas the High Priest. Meanwhile Peter stood warming himself; the others asked:
Are you another of his disciples But he denied it and said:
One of the High Priest's servants, a relation of the man whose ear Peter had cut off, insisted: .
Did I not see you with him in the garden
Peter denied again; and just then a cock crew, Peter remembered what Jesus had said and he went away and cried bitterly.
13. Aria Tenor Ach, mein Sinn,
Wo willt du endlich hiiv -J
Wo soil ich mich erquikken .
Bleib ich hier,
Oder wiinsch ich mir
Berg und HUgel auf den Riikkeh" : "
Bei der Welt ist gar kein Rat,
Und im Herzen '
Stehn die Schmerzen '
Meiner Missetat,
Weil der Knecht den Herrn verleugnet hat.
14. Chorale
Petrus, der nicht denkt zuruck,
Seinen Gott verneinet,
Der doch auf ein' ernsten Blick
Bitterlichen weinet.
Jesu, blikke mich auch an, ..._ .. ..
Wenn ich nicht will biifien; :
Wenn ich Boses hab getan,
Riihre mein Gewissen!
15. Chorale
Christus, der uns selig macht,____,
Kein Bos' hat begangen,
Der ward fur uns in der Nacht
Als ein Dieb gefangen,
Gefuhrt fur gottlose Leut
Und falschlich verklaget, .j
Verlacht, verhohnt und verspeit, 1
Wie denn die Schrift saget. J
16a. Evangelist Da fiihreten sie Jesum von Kaiphas vor das Richt-haus, und es war friihe. Und sie gingen nicht in das Richthaus, aufdaS sie nicht unrein wiirden, sondern Ostern essen mochten. Da ging Pilatus zu ihnen heraus und sprach:
Was bringet ihr fllr Klage wider diesen'Menschen'
Evangelist i
Sie antworteten und sprachen zu ihm: ,-'
16b. Chorus
Wire dieser nicht ein Obeltater, wir hatten dir
ihn nicht iiberantwortet. -.? . ? .? ? . .
0 my troubled mind, Where are you leading me, Where shall I find relief Shall 1 stay here,
Or hide
Beyond the hills and mountains
Nothing in the world can help me
And my heart
Aches with the pain
Of my shameful deed:
1 have broken faith with my Lord.
Without thinking, "
Peter denies his God,
But weeps bitterly
At a reproachful look. ?
If 1 am unrepentant,
Look at me, Jesus,
Touch my conscience
Whenever I do wrong.
. (St. John 18: 15-27; St. Matthew 26:'75)
Christ, who brings joy
And has done no wrong,
Was for our sake
Seized like a thief in the night, i
Taken before unbelievers
And falsely accused.
He was derided, spat upon, vilely mocked,
As the Scripture tellssj
From Caiaphas Jesus was led into the Governor's headquarters. It was now early morning, and they stayed outside the headquarters to avoid defilement so that they could eat the Passover meal. So Pilate went out to them and asked: ;
What charge do you bring against this man
They replied:
If he were not a criminal we should not have brought him before you.
16c. Evangelist -
Da sprach Pilatus zu ihnen:
So nehmet ihn ihr hin und richtet ihn nach curem
Da sprachen die Juden zu ihm:
Wir diirfen niemand toten.
16e. Evangelist
Auf daS erfullet wiirde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben wiirde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesu und sprach zu ihm:
Pilate .'?.
Bist du der Juden Konig
Evangelist lesus antwortete:
Redest du das von dir selbst, oder habens dirJSill
andere von mir gesagt
Pilatus antwortete:
Bin ich ein Jiide Dein Volk und die Hohenpriester
naben dich mir ilberantwortet; was hast du
Evangelist MMlM
lesus antwortete:
Mein Reich ist nicht von dieser Welt, ware mein Sj Reich von dieser Welt, meine Diener wiirden m darob kampfen, dafi ich den Jiiden nich iiberant-'fl wortet wurde; aber nun ist mein Reich nicht von sj dannen, . .. ? . . ;? -Mi
Pilate said:
Take him away and try him by your own law!
The Jews answered:
We are not allowed to put any man to death.
Thus they ensured the fulfilment of the words by which Jesus had indicated the manner of his death. Pilate then went back into his headquarters and summoned Jesus, and asked:
Are you the king of the Jews
Jesus said:
Is that your own idea, or have others suggested it to you .-. .;?.;? ? . .
Pilate said:
@@@@Am I a Jew Your own nation and their chief priests have brought you before me. What have you done
Jesus replied:
My kingdom does not belong to this world. If it did, my followers would be fighting to save me from arrest by the Jews. My kingly authority comes from elsewhere.
17. Chorale
Ach groSer Konig, groS zu alien Zeiten, ;
Wie kann ich gnugsam diese Treu ausbreiten Keins Menschen Herze mag indes ausdenken,.pj? Was dir zu schenken. ,v ? .?-..i . : r'
Ich kann's mit meinen Sinnen nicht erreicherC Womit doch dein Erbarmen zu vergleichen. '. Wie kann ich dir denn deine Liebestaten-. &$? 1m Werk erstatten . 3ii5
18a. Evangelist "
Da sprach Pilatus zu ihm: '
Pilate '? '
So bist du dennoch ein K6nig
Evangelist fpSS
Jesus antwortete;
Du sagst's, ich bin ein Konig. Ich bin dazu geboren und in die Welt kommen, daS ich die Wahrheit zeugen soil. Wer aus der Wahrheit ist, der horet meine Stimme.
Evangelist ':________
Spricht Pilatus zu ihm: ?' z
Was ist Wahrheit ?'
P ,.;Wm" ' 'I
Und da er das gesaget, ging er wieder hinaus zu
den luden und spricht zu ihnen: . . ...
Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daS ich euch einen losgebe; wollt ihr nun, daS ich euch der jiiden Konig losgebe
Da schrieen sie wieder allesamt und sprachen:
18b. Chorus llpIlS "" ' Nicht diesen, sondern Barrabas' Vi
18c. Evangelist
Barrabas aber war ein MOrder. Da nahm Pilatus
Jesum und geifielte ihn.
O mighty king, great forever, How can 1 ever express my allegiance No human heart can think of a gift Fit to offer you.
Nor can 1 find anything to compare With your merciful goodness. J What then can 1 do to be worthy JJ Of your loving deeds ;
Pilate said:.
Jesus answered: j
"King" is your word. My task is to bear witness to the truth. For this was I born; for this 1 came into the world, and all who are not deaf to truth listen to my voice.
Pilate said
And with those words he went out again to the lews, and said:
For my part, I find no case against him. But you have a custom that I release one prisoner for you at Passover. Would you like me to release the king of the Jews . ......
Again the clamour rose:'
Not him; we want Barabbas!
Barabbas was a bandit. Pilate now took lesus and had him flogged.
19. Arioso Bass
Betrachte, meine Seel, mit angstlichem Vergniigen,,
Mit bittrer Lust und halb beklemmtem Herzen -.'
Dein hochstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen, '
Die Himmelschlusselblumen bliihn!
Du kannst viel siiKe Frucht von seiner Wermut
Drum sieh ohn UnterlaB auf ihn! [brechen, j
20. Aria Tenor ?
Erwage, wie sein blutgefarbter Rijkken In alien Stiikken Dem Himmel gleiche geht, Daran, nachdem die Wasserwogen Von unsrer Siindflut sich verzogen, Der allerschonste Regenbogen Als Gottes Gnadenzeichen steht!
21a. Evangelist
Und die Kriegsknechte flochten eine Krone von ?[ Dornen und satzten sie auf sein Haupt und legten; ihm ein Purpurkleid an und sprachen: ':
21b. Chorus
Sei gegruSet, lieber liidenkonig!'
21c. Evangelist
Und gaben ihm Bakkenstreiche. Da ging Pilatus
wieder heraus und sprach zu ihnen:
Pilate ' ? ? "? ' -?? '
Sehet, ich fiihre ihn heraus zu euch, daB ihr erkennet daS ich keine Schuld an ihm finde.
Also ging Jesus heraus und trug eine Dornenkrone
und Purpurkleid. Und er sprach zu ihnen:
Sehet, welch ein Mensch!
Da ihn die Hohenpriester und die Diener sahen,
schrieen sie und sprachen:
21d.Chorus Kreuzige, kreuzige!
21e. Evangelist
Pilatus sprach zu ihnen:
Nehmet ihr ihn hin und kreuziget ihn; denn ich
finde keine Schuld an ihm!
My soiil, think how a heavenward-guiding flower Springs from the thorns that pierce the Saviour's head Consider in anxious relief, in bitter joy, With a heart torn between grief and consolation ! How his suffering is your most precious treasure What is wormwood to him is for you the sweetest fruit So fix your gaze always on him.
@@@@Look how his back.
Stained with blood,
Is just like the sky,
After the clouds of our sins
Have poured down,
A lovely rainbow
Appears as a sign of Heaven's blessing
??-?-. (St. John 18: 28-40; 19: 1)
And the soldiers plaited a crown of thorns and placed it on his head, and robed him in a purple cloak. Then time after time they came up to him:
Hail, King of the Jews
And struck him on the face. Once more Pilate SjK came out and said to the Jews: .... ..'
Here he is; 1 am bringing him out to let you know that 1 find no case against him. F
And Jesus came out, wearing the crown of thorns and the purple cloak. And Pilate said: .'
Behold the mail!'
The chief priests and their henchmen saw him and shouted:
Crucify! Crucify!"
Pilate said:
Take him and crucify him yourselves; for my part 1 find no case against him.
Die liiden antworteten ihm:
2If. Chorus
Wir haben ein Gesetz, und nach dem Gesetz soil
er sterben; denn er hat sich selbst zu Gottes Sohn
21g. Evangelist
Da Pilatus das Wort horete, furchtet' er sich noch mehr und ging wieder hinein in das Richthaus, und spricht zu Jesu:
Von wannen bist du
Evangelist i
Aber Jesus gab ihm keine Antwort. Da spradi"
Pilatus zu ihm:
Redest du nicht mit mir WeiSest du nicht, daS ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben
Evangelist': lesus antwortete:
Du hattest keine Macht tiber mich, wenn sie dir nicht ware von oben herab gegeben; darum, der mich dir iiberantwortet hat, der hat's grofi're Sunde.
Von dem an trachtete Pilatus, wie er ihn loslieBe. ?
22. Chorale a
Durch dein Gefangnis, Gottes Sohn,
Mufi uns die Freiheit kommen;
Dein Kerker ist der Gnadenthron.j ""
Die Freistatt alter Frommen; 'T
Denn gingst du nicht die Knechtschaft ein, ;.
MuSt unsre Knechtschaft ewig sein.
23a. Evangelist . ""
Die liiden aber schrieen und sprachen:;
23b. Chorus ? -------" -
Lassest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Konige machet, der ist wider den Kaiser.
The Jews answered:
We have a law; and by that law he ought to die because he has claimed to be Son of God.
When Pilate heard that, he was more afraid than ever, and going back into his headquarters asked Jesus:
Where have you come from
But Jesus gave him no answer. Pilate said:
Do you refuse to speak to me Surely you know that 1 have authority to release you, and 1 have authority to crucify you
Jesus replied:
You would have no authority at all over me if it had not been granted to you from above; and therefore the deeper guilt lies with the man who handed me over to you.
From that moment Pilate tried hard to release him.
Your imprisonment, Son of God,
Brings us liberty;
Your prison is a divine throne,
The haven for all pious men;
For if you had not accepted serfdom
We would never have become free, r..
But the Jews 1
If you let this man go, you are no friend to Caesar; any man who claims to be a king is defying Caesar.
23c. Evangelist
Da Pilatus das Wort horete, fiihrete er Jesum heraus und satzte sich auf den Richtstuhl, an der Statte, die da heiSet: Hoch pflaster, auf Ebraisch aber: Gabbatha. Es war aber der Riisttag in Ostern um die sechste Stunde, und er spricht zu den liiden:
Sehet, das ist euer Konig!
Evangelist ????"?
Sie schrieen aber: [
23d. Chorus ?"?
Weg, weg mit dem, kreuzige ihn!
23e. Evangelist
Spricht Pilatus zu ihnen: ;
Pilate J
Soil ich euren Konig kreuzigen
Die Hohenpriester antworteten:
23f. Chorus
Wir haben keinen Konig denn den Kaiser.
23g. Evangelist
Da iiberantwortete er ihn, daG er gekreuziget ? : wiirde. Sie nahmen aber )esum und fiihreten ihn hin. Und er trug sein Kreuz und ging hinaus zur Statte, die da heiGet Schadelstatt, welche heiGet auf Ebraisch: Golgath ' '
24. Aria Bass & Chorus ".
Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhohlen, Eilt Wohin nach Golgatha! Nehmet an des Glaubens Fliigel, Flieht Wohin zum Kreuzeshiigel, Eure Wohlfahrt bliiht allda!
25a. Evangelist '---?-Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, lesum aber mitten inne. Pilatus aber schreib eine Uberschrift und satzte sie auf das Kreuz, und war geschrieben: "Jesus von Nazareth, der (iiden Konig." Diese Uber-.", schrift lasen yiel Jiiden, denn die Statte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf Ebraische, griechische und lateinische Sprache. Da sprachen die Hohen?priester der Jiiden zu Pilato:
When Pilate heard what they were saying he brought Jesus out and took his seat on the tribunal at the place known as the High Pavement or "Gabbatha" in Hebrew. It was the preparation of the Passover, about noon, and Pilate said to the Jews:
Here is your king!
They shouted:
Away with him! Crucify him!
Pilate said to them:
Crucify your king
The chief priests answered:
We have no king but Caesar.
Then at last, to satisfy them, he handed Jesus over to be crucified, lesus was now taken in charge and, carrying his own cross, went out to the Place of the Skull, which is called in Hebrew, "Golgotha.'
Hurry, you tormented souls, "'"?
Leave your dens of misery,
Hurry where to to Golgothal
Take the wings of faith '
And fly where to to the hill of the Cross;
There they crucified him, and with him two others, one on the right, one on the left, and Jesus between them. And Pilate wrote an inscription to .'JSS be fastened to the cross; it read, "lesus of Nazareth, King of the lews." This inscription was read by many Jews, because the place where Jesus was crucified was not far from the city, and the inscription was in Hebrew, Latin, and Greek. Then the Jewish chief priests said to Pilate: ., . ? .?..-?..-, -
25b. Clwrt4S ?
Schreibe nicht:"der Jiiden Konig," sondern daB
er gesaget habe: "kh bin der Jiiden Kbnig."
25c. Evangelist Pilatus antwortet:
Was ich geschrieben habe, das habe ich
26. Chorale :--------
In meines Herzens Grunde, "i Dein Nam und Kreuz allein . Funkelt all Zeit und Stunde,y"" Drauf kann ich frohlich seini Erschein mir in dem Bilde s Zu Trost in meiner Not, Wie du, Hcrr Christ, so milde, A Dich hast geblut' zu Tod! j
27a. Evangelist ... .... -
Die Kriegsknechte aber, da sie lesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenahet, von oben an gewiirket durch und durch. Da sprachen sie untereinander:
. --x
27b. Chorus .?
Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soil.
27c. Evangelist Auf dafi erfiillet wiirde die Schrift, die da saget: "Sie haben meine Kleider unter sich geteilet und haben iiber meinen Rock das Los geworfen." Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jiinger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:
Weib, siehe, das ist dein Sohn! ,
Darnach spricht er zu dem (Ongfa
Siehe, das ist dcine Mutter!
You should not write: "King of the Jews" write: "He claimed to be King of the Jews."
Pilate replied:
May your name and cross Alone be written on my heart, Shining there always To make me rejoice. When 1 am in need Console me
With the picture of you : So patiently enduring death.
@@@@(St. John 19: 2-22)
The soldiers, having crucified Jesus, took possession of his clothes, and divided them into four parts, one for each soldier, leaving out the tunic. The tunic
was seamless, woven in one piece throughout;-------
so they said to one another:
We must riot tear this! let us toss for it.
And thus the text of the Scripture came true: "They shared my garments among them, and cast lots for my clothing." That is what the soldiers did. But meanwhile standing near the cross where Jesus hung was his mother, with her sister Mary, the wife of Cleophas, and also Mary of Magdalen. Jesus saw his mother, with the disciple whom he loved standing beside her. He said to her:
Mother, there is your son;
And to the disciple:
There is your mother.
28. Chorale ?_ la Er nalini alles wohl in achf. In der letzten Stunde, Seine Mutter noch bedacht, Setzt ihr ein' Vormunde. O Mensch, mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn alles Leid, Und dich nicht betrube! . ...
29. Evangelist Und von Stund an nahm sie der lunger zu sich. Darnach, als lesus wuGte, daG schon alles , vollbracht war, daG die Schrift erfiillet wurde'4 spricht en j
Mich diirstet!
Da stund ein GefaUe voll Essigs. Sie fiilleten aber ? einen Schwamm mit Essig und legten ihn um einen lsopen, und hielten es ihm dar zum Munde. Da nun lesus den Essig genommen hatte, spracher:
Jesus j Es ist vollbrach-
@@@@30. Aria Alto
Es ist vollbracht! ' ,.-....
O Trost vor die gekrankten Seelen!
Die Trauernacht
LiiSt nun die letzte Stunde za'hlen.
Der Held aus )uda siegt mit Macht
Und schlieSt den Kampf.
Es ist vollbracht!
31. Evangelist
Und neiget das Haupt und verschied..

He thought of everything1" In his last hour; :
And gave his mother -;
Someone to protect her. ; You too should act rightly Loving God and man, So that you may die untroubled, Without anxiety.
And from that moment the disciple took her into his home. After that, lesus, aware that all had now' come to its appointed end, said in fulfilment of -Scriptui
A jar stood there full of sour wine. They soaked a sponge with the wine, fixed it on a javelin, and held it up to his lips. Having received the wine, he said:
It is accomplished!
It is accomplished;
What comfort for suffering human souls!
I can see ... ...._.
The end of the night of sorrow. The hero from Judah . ?;
Ends his victorious fight. ' It is accomplished! , '
@@@@He bowed his head and gave up his spirit
32. Aria Bass & Chorale .t,
Mein teurer Heiland, laS dich fragen,
Da du nunmehr ans Kreuz geschlagen
Und selbst gesaget: Es ist vollbracht,
Bin ich vom Sterben frei gemacht
Kann ich durch deine Pein und Sterben
Das Himmelreich ererben
1st aller Welt Erlosung da
Du kannst vor Schmerzen zwar nichts sagen;
Doch neigest du das Haupt
Und sprichst stillschweigend: ja.
fif a"rale
' Jesu, der du warest tot,'-1
E Ltbtst nun ohn Ende, i " --"j
In der letzten Todtsnot,
Nirgend mich hinwende , Als zu dir, der mich versiihnfj
i. O du lieber Herre! ?.
Gib mir nur, was du verdient,
Mehr ich nicht begehre! i
33. Evangelist
Und siehe da, der Vorhang im Tempel zerriS in zwei Stuck von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Graber taten sich auf, und stunden auf viel Leiber der Heiligen.
34. Aria -Tenor ' ?'. Mein Hen, indem die ganze Welti Bei lesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet, Der Vorhang reifit, der Fels zerfallt, Die Erde bebt, die Graber spalten, Weil sie den Schopfer sehn erkalten, Was willst du deines Ortes tun . ?
35. Aria Soprano -?.?.
ZerflieBe, mein Herze, in Fluten der Zihren Dem Hochsten zu Ehren! Erzahle der Welt und dem Himmel die Not: Dein )esus ist tot!
My dearest Saviour, let me ask you,
As you are nailed to the cross
And have yourself said it is accomplished,
Am 1 released from Death
Can 1 gain the heavenly kingdom
Through your suffering and death
Is it that the whole world is redeemed
You cannot speak for agony,
But incline your head
To give a speechless: yes.
Jesus, you were dead And now live for ever, Bring me,
In death's extremity, . t ,;
Nowhere but to you who have paid the debt 1 owe .jj
To God, my true and faithful master! Give me only what you have won. Could there be anything more to wish for
At that moment, the curtain of the temple was torn in two from top to bottom. There was an earthquake, the rocks split, and the graves opened and many of God's people arose from their sleep.
My Heart, while the whole world
Shares Jesus's suffering,
The sun in mourning, T
The veil rent, the rocks split, .'
The earth quaking, the graves opening,
Because they see the creator grow cold in death,
What will you do for your part
Dissolve then, heart, in floods of tears As your tribute to our God. Tell earth and heaven the grievous news, Your lesus is dead, dead! .jSp
36. Evangelist
Die Juden aber, dieweil es der Rustfag war, da nicht die Leichname am Kreuze blieben den Sabbath iiber (denn desselbigen Sabbaths Tag war sehr groS), baten sie Pilatum, daB ihre Beine L.
gebrochen und sie abgenommen wiirden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu esu kamen, da sie sahen, daG er schon gestorben war, brachen sie ihm die 'I
Beine nicht; sondern der Kriegsknechte einer eroffnete seine Seite mit einem Speer, und alsobald-ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiB, daB er die Wahrheit saget, auf daB ihr glaubet. Denn solches ist geschehen, auf daS die Schrift erfullet wiirde: "Ihr sollet ihm kein Bein zerbrechen." Und abermal spricht eine andere Schrift: "Sie werden sehen, in welchen sie gestochen haben."
37. Chorale :;'""" O hilf, Christe, Gottes Sohn,
Durch dein bitter Leiden, .?
DaB wir dir stets untertan .. .........-...
All Untugend meiden, Deinen Tod und sein Ursach; Fruchtbarlich bedenken, Dafiir, wiewohl arm und schwach, Dir Dankopfer schenken!
38. Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jiinger Jesu war (doch heimlich, aus Furcht vor den Jiiden), daB er mochte abnehmen den Leichnam esu. Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu lesu kommen war, und brachte Myrrhen und Aloen untereinander bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leinen Tiicher mit Spezereien, wie die Jiiden pflegen zu begraben. Es war aber an der Statte, da er gekreuzjget ward, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Riisttags willen der Juden, dieweil das Grab nahe war. ? .
Because it was the eve of Passover, the Jews were anxious that the bodies should not remain on the cross for the coming Sabbath (since that Sabbath was a day of great solemnity), so they requested Pilate to have the legs broken and the bodies taken down. The soldiers accordingly came to the first of his fellow victims, and to the second, and broke their legs. But when they came to Jesus, they found that he was already dead, so they did not break his legs. But one of the soldiers stabbed his side with a lance, and at once there was a flow of blood and water. This is vouched for by an eye-witness, whose evidence is to be trusted. He knows that he speaks the truth, so that you too may believe; for this happened in fulfillment of the text of Scripture: "No bone of his shall be broken". And another text says, "They shall look on him whom they pierced." JB
Help us, Christ the Son of God ? As your loyal followers, --"' To avoid wrong-doing and, ? With the thought of your death And its cause,
To bring you thank-offerings i) For all that you have done, Poor and weak though we may be.
After that, Pilate was approached by Joseph of Arimathea, disciple of Jesus, but a secret disciple for fear of the Jews, who asked to be allowed to remove the body of Jesus. Pilate gave the permission, so Joseph came and took the body away. He was joined by Nicodemus, the man who had first visited Jesus by night, who brought with him a mixture of myrrh and aloes, more than half a hundredweight. They took the body of Jesus and -jiSfl wrapped it, with the spices, in strips of linen cloth according to Jewish burial customs. Now at the place where had been crucified there was a garden, and in the garden a new tomb, not yet used for burial. There, because the tomb was near at hand and it was the eve of the Jewish Sabbath, they laid Jesus.
39. Chorus
Ruht wohl, ihr heiligen Gebeine, , Die ich nun weiter nicht beweine, -Ruht wohl und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist '} Und ferner keine Not umschlieGt Macht mir den Himmel auf und schlieGt dieHollezu. ., '
40. Chorale
Ach Herr, laG dein lieb Engelein ? Am letzten End die Seele mein In Abrahams SchoS tragen, Den Leib in seim Schlafkammerlein Gar sanft ohn einge Qual und Pein Ruhn bis am jiingsten Tage! Alsdenn vom Tod erwekke mich, DaG meine Augen sehen dich ""T" In aller Freud, o Gottes Sohn, Mein Heiland und Genadenthron! Herr Jesu Christ, erhore mich, Ich will dich preisen ewiglich! .
i Lie in peace, sacred body j For which I weep no longer, And bring me also to my rest
The grave that is yours
And holds no further suffering,
For me opens Heaven and closes Hell
O Lord, send your cherubs
In my last hour to bear my soul away
To Abraham's bosom;
Let it rest there :
Untouched by any pain
Until the last day.
Wake me then from death's sleep,
So that my joyful eyes may see you,
The Son of God, ..-.,
My Saviour!
Grant me this
And I will glorify you throughout eternity! !
(St. Matthew 27: 51 -52; St. John 19: 31 -42)
Gabrieli Consort and Players
Paul McCreesh, Music Director
Mhairi Lawson, Soprano ? Robin Tyson, Countertenor James Gilchrist, Tenor ; Peter Harvey, Baritone '[
Saturday Evening, April 19 at 8:00 Michigan Theater Ann Arbor
J. S. Bach's
Part i
Part ii

85th Performance of the 124th Season
124th Annual Choral Union Series
The photographing or soimd recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The 124th Annual Choral Union Series is sponsored by Forest Health Services.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsor WGTE 91.3 FM.
The positif organ used in this evening's performance is made possible by the Ann Arbor Academy of Early Music.
Large print programs are available upon request.
Forest Health Services presents the 124th Annual Choral Union Series.
St. John Passion, BWV 245
Johann Sebastian Bach ??
Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig, Germany
Tonight's performance marks the second UMS performance of the St. John Passion. The Gaechinger Kantorei of Stuttgart with the Los Angeles Chamber Orchestra under the musical direction ofHelmuth Rilling gave the UMS premiere of the work in November 1983. ;J
No doubt many listeners this evening will have grown up with the St John Passion as one of the great warhorses of the choral repertoire. It may well come as something of a surprise to see as few as eight singers on the stage for tonight's performance.
The St John Passion exists not only in Bach's autograph score but also in sets of instrumental and vocal parts preserved from Bach's own performances. These clearly sug?gest that for early performances of this work Bach's four principal singers would have performed the entire piece: recitatives, solos, choruses and chorales. For some later per?formances, an additional set of vocal parts were prepared for another quartet of ripieno singers. How Bach divided the music up between these eight singers, and how much was sung one or two to a part, is not so clear. This tantalizing question requires fur?ther research, and the solution adopted this evening is only one of several possible.
There is no evidence to suggest that Bach ever used more than eight singers in the performance of this work; indeed, very few of his vocal works seem to require more than a quartet of singers. No doubt the reasons for this were pragmatic; we know from Bach's own words that he had very few singers at his disposal who were able to sing the elaborate music that he habitually wrote. All the same, there is simply no reason to believe that Bach had any desire for a large "choral" ensemble;
on the contrary, his music is quite clearly written if we are bold enough to see it -to exploit the small but immensely colorful ensemble with which he worked.
Tonight's performance draws upon sub?stantial research by two conductor-scholars, the American Joshua Rifkin and the Englishman Andrew Parrott, whose advice I gratefully acknowledge. Those who wish to read further are recommended to look at a substantial body of articles published mostly in the journal Early Music throughout the 1990s and, especially, Parrott's masterful book The Essential Bach Choir (Boydell Press, 2000). Of course, the purpose of all this is not to .? prove an academic theory but to recreate the soundworld of Bach in the organ loft and to restore the wonderful sense of large scale chamber music which is so much a part of the St. John Passion, and indeed all of Bach's music. To those who know the music of Schutz, and the music of the later 17th-century German school (where the use of solo voices is almost entirely uncontroversial) it is really no great surprise to hear Bach's music performed in this way.
Too many musicians have found it sim?ply too great a challenge to accept, or even consider, the wealth of evidence supporting "solo voice" Bach, no doubt at least partly due to the professional vested interests of the choral tradition. Having experimented with both vocal and choral approaches over the years, I have come to the conclusion that the brilliance and directness of a solo quartet octet often compensate for the volume and impact of a larger, if often less flexible, ensem?ble. Moreover, the beauty of Bach's instru?mental writing, so often masked by even the smallest of choirs, comes over loud and clear.
Paul McCreesh, 2003
aul McCreesh is fast becoming one of the UK's most exciting and
__ innovative conductors, equally at
home in early and standard reper?toire, on the concert platform and in the opera house. Voted one of the "Top 100 Conductors of the 20th Century" by
Classic Music Magazine, he is the founder and Artistic Director of the Gabrieli Consort and Players, with whom he has established an outstanding interna?tional reputation for his historically ; informed presenta?tions of Renaissance
and Baroque music. Numerous pnze-wm-ning recordings with the Gabrieli Consort have included music by Bach, Gabrieli, Monteverdi, Purcell, Schiitz and an on-going series of Handel oratorios. Mr. McCreesh is also very active in the opera house. In October 2000 he made a phenomenal operatic debut at Welsh National Opera with a universally praised new production of Gluck's Orphie and Eurydice; this was followed by a new production of Britten's Albert Herring at Amsterdam and the Hague Conservatoires. Future opera projects include debuts at Royal Danish Opera (The Magic Flute) and Komische Oper Berlin (Radamisto), and new stagings of Handel oratorios at Welsh National Opera (Jephtha), and Academie Baroque, Ambronay (Athalia).
Highlights of Mr. McCreesh's recent seasons include a tour with the Deutsche Kammerphilharmonie, and concerts with Teatro Comunale di Bologna, Vancouver Symphony, San Francisco Symphony, Minnesota Orchestra, Copenhagen Philharmonic and the Norwegian Opera Orchestra. The 0203 season includes con?certs with l'Orchestre Philharmonique de Radio France (Paris), WDR Cologne,
Australian Youth Orchestra, Israel Camerata, Orquesta Ciudad de Granada and Deutsches Symphonie-Orchester Berlin. HHSEfiMramt
Tonight's performance marks Paul McCreesh's second appearance under UMS auspices. He made his UMS debut conducting the Gabrieli Consort and Players in December 1999.
hairi Lawson studied at Newcastle University, the Royal Scottish Academy of Music and Drama and the Guildhall School _ _ of Music and Drama. While still
a student, she won the International Early Music Network Young Artists Prize with the fortepianist Olga Tverskaya, which led to her first CD recording of Haydn's English and Scottish Songs. Engagements at home and abroad include many performances, commer?cial recordings (most recently, the Scottish Italian recording Mungrel Stuff wilh Concerto Caledonia, Sunday Times "Choice CD" for 2001) and broadcasts as soloist with groups such as Les Arts Florissants, the Monteverdi Choir (Bach's Mass in b minor conducted by John Eliot Gardiner) and the Netherlands Bach Society. Ms. Lawson has sung principal roles at the English National Opera, including Handel's Alcina and
Xerxes and Monteverdi's The Coronation ofPoppea. Her recitals of sacred and secular music by Vivaldi and Caldara have been broadcast on BBC Radio 3. Current and forth?coming projects include Bach's solo
cantatas, recordings of operatic arias and cantatas by Vivaldi with La Serenissima, a tour of the US with Concerto Caledonia, and performances with the Early Opera Company.
Tonight's performance marks Mhairi Lawson's UMS debut.
ountertenor Robin Tyson was a
choral scholar at King's College, Cambridge before joining the Royal College of Music for post-
__ graduate study. Since 2001 he has
been a member of the King's Singers, the world's most sought-after a cappella enserri' ble, performing over 100 concerts every ; year worldwide, recording, teaching and collaborating with some of the world's best' orchestras and musi-
cians. As a soloist he has performed throughout Europe, in Japan and the US, with conductors such as Sir John Eliot Gardiner, Paul McCreesh, Robert King and Joshua Rifkin. Recent con-
certs include a recital at the Spitalfields Festival, Messiah with Richard Hickox at the Barbican, Bernstein's Chichester Psalms at the BBC Proms, and concerts with the viol consort Fretwork. Mr. Tyson was heavily involved in Sir John Eliot Gardiner's year?long Bach Cantata project in 2000. A live recording of one concert is available on the DG label. A keen exponent of contempo?rary music, he appeared in the 1996 BBC Proms in Gyorgy Kurtag's What is the Word, and in the 1999 Proms of the world premiere of Giles Swayne's Havoc. Singing opera, Mr. Tyson has worked at La Monnaie, Brussels, at the Festspielhaus, Salzburg, and in Barcelona, Lyon and Montpellier, working with Rene Jacobs. He has also worked for Flanders Opera in a double bill of Venus and Adonis and Dido and Aeneas in Antwerp
and Ghent. a& &(&.
Tonight's performance marks Robin Tyson's UMS debut. &&&-
enor James Gilchrist began his professional life as a doctor, turning to a full-time career in music in 1996. He is a keen exponent of contemporary music and performed in the world premieres of Knut Ntstedt's Apocalypsis Joannis (Oslo Philharmonic); John Tavener's Total Eclipse (Academy of Ancient Music), which was also recorded; and Helen Ottoway's new commission for the Salisbury Festival, Whispering Green. In his partnership with pianist Anna Tilbrook, he has performed Schumann's Liederkreis, Op. 24, Finzi's 'Til Earth Outwears and Poulenc's Metamorphoses for BBC Radio 3. Operatic performances include Quint in Britten's Turn of the Screw (New Chamber Opera), Ferrando in Cosi Fan Tutti, Scaramuccio in Strauss's Ariadne and Naxos
(Richard Hickox), Gomatz in Mozart's Zaide (Istanbul), Vaughan Williams's Sir John in Love (Barbican Radio 3) andHyllusin,fJpg; Handel's Hercules' ""' (Berlin). Amongst his many recordings are Bach's St. John Passion (New College
ChoirEdward Higginbottom), Rachmaninov's Vespers (EMIKings College, Cambridge), Schiitz's sacred music (The SixteenCollins Classics), and Rameau's Cantatas. He recently recorded the title role in Britten's Albert Herring on Chandos.
Tonight's performance marks James Gilchrist's UMS debut.
aritone Peter Harvey studied at , Magdalen College, Oxford and
then at the Guildhall School of
Music and Drama in London.
While there he won a BP scholar?ship for opera and the Schubert Lieder Prize. After leaving the Guildhall in 1984 he won prizes in various international compe?titions, including in a prize in the Walther Gruner Lieder Competition, the Peter Pears .
Award and the English Song Award. He has worked with most of the leading British ensembles and conductors in the field, including the English Baroque Soloists, the Kings Consort, London Baroque and the Purcell Quartet. In
1995 he sang the bass arias in the St. John Passion with the Leipziger Thomanerchor on their first visit to England, and sang the same work with them in Leipzig on Good Friday 1997. Mr. Harvey's more than 50 recordings include a wide variety of works from the 17th century to the present day. ?? Alongside pieces from the standard Baroque repertoire, he has also recorded a number of musical rarities and a recent recording on the Naive label of Beethoven arrangements of Scottish and Irish folk songs for voices and piano trio. From the more recent reper?toire he has made discs of music by Puccini, Janacek and Faure (the Requiem), and has recorded two major works by the Belgian composer Henri Pousseur. ;
Tonight's performance marks Peter Harvey's UMS debut.
he Gabrieli Consort and Players came to critical attention during their first decade with their mold-breaking reconstructions of music from the great historic occasions of the Baroque. Since then, they have captivated audiences with their bold readings of the masterworks of the period. Their distinctive style, coupled with Paul McCreesh's expertise in the performance practice of earlier periods, gives Gabrieli's music-making a wide and a decidedly 21st-century appeal. The Consort has made numerous television and radio appearances in a variety of repertoire and are regular visitors to the major festivals and concert halls of Europe. They record exclusively with market leader Deutsche Grammophon Archiv (DG Archiv) and their first release on this label, Venetian Vespers, won the 1993 Gramophone Award and was nominated for a Grammy. Subsequent recordings for DG Archiv of music by Palestrina and Praetorius, Morales, Purcell and others have won several major European prizes (including Diapason D'Or, Deutschen Schallplatten Preis, and Edison).
The Gabrieli Consort and Players released their first Handel oratorio recording, Messiah, in 1998. Since then they have become firmly established as leading interpreters of his works. Their 1999 recording of Solomon (with German countertenor Andreas Scholl singing the title role) was voted "Classic CD of the Year," and another release, Theodora, was nominated for a Gramophone Award.
Tonight's performance marks the Gabrieli Consort and Players' third appearance under UMS auspices. The ensemble made their UMS debut in October 1997.
Gabrieli Consort and Players
Paul McCreesh, Music Director
Mhairi Lawson, Soprano ! Robin Tyson, Countertenor James Gilchrist, Tenor Peter Harvey, Baritone a
Violin I
Catherine Martin Rebecca Rule Madeleine Easton
Violin II Henrietta Wayne Ellen O'Dell Persephone Gibbs
Rachel Byrt Marina Ascherson
Thomas Pitt
Robert Frankenburg

Flutes '
Katy Bircher v Brinley Yare....
Katharina Spreckelsen Hilary Stock
Sally Jackson
Harpsichord ?= Timothy Roberts
lames Johnston
Consort Singers
Tessa Bonner David Clegg Simon Wall Robert Rice
Intermusica Artists' Management Ltd. Tour Managers
Stephen Lumsden, Managing Director
Alan Coates, Manager, Tours and Projects
Liz Baines, Associate Manager, Tours and Projects
The Hilliard Ensemble
Monika Mauch, Soprano David James, Countertenor Steven Harrold, Tenor Gordon Jones, Baritone ??--
Christoph Poppen
Violin ?, : !
Thursday Evening, May 1 at 8:00 ',t
;. St. Francis of Assisi Catholic Church Ann Arbor ",
.. L,i
The Partita in d minor, BWV1004 for Solo Violin
' with related chorales, based on the analysis of Prof. Helga Thoene
l3?Den Tod" '? Allemande
Christ lag in Todesbanden 1 Courante
Den Tod niemand zwingen kunnt .. ?
' Sarabande '&$'
Wo soil ich fliehen hin Gigue
Den Tod... Chaconne
Christ lag in Todesbanden
Dein Will gescheh'
Befiehl Du Deine Wege
Jesu meine Freude
Auf mienen lieben Gott
Jesu Deine Passion
In meines Herzens Grunde
Nun lob', mein Seel', den Herren
Den Tod... Chaconne
for Violin and Four Voices Den Tod...
86th Performance of the 124th Season
Eighth Annual Divine Expressions Series
The Hilliard Ensemble and Christoph Poppen appear by arrangement with New World Classics, Kerby Lovallo, Director.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Large print programs are available upon request.
(or "The most arcane secrets of harmony") by Herbert Glossner ? . -i -
ven concert-goers who listen to Alban Berg's Violin Concerto _ without any preparation at all will sit up and take notice at the strange melody that the solo violin starts playing at the begin?ning of the Adagio section of movement two. Unless they know something about the Protestant church or its musical traditions, however, they will not realize that this tune, with the distinctive tritone out?lined by its first four notes, is in fact a Bach chorale. Usually the riddle is explained in the concert's program booklet, just as Berg explained it in his score: the piece, written in 1935 (the year of the composer's own death), is dedicated "to the memory of an angel," and the angel in this case is Manon Gropius (the daughter of Alma Mahler-Gropius), who died at the age of 18.
One is reminded of the Act II tavern scene in Berg's Wozzeck, where a chorale melody outside the standard tradition is deliberately parodied or "caricatured" in the bass tuba. A similar example occurs at an extremely tense moment in Act II of Bernd Alois Zimmermann's Die Soldaten. Here, in a scene consisting of three overlapping plot lines, the composer superimposes a "Capriccio, Corale e Ciacona" and quotes a four-voice harmonization of the chorale "Ich bin's, ich sollte btissen" from Bach's St. Matthew Passion, scored for trumpets, trom?bones, and woodwind. In both these cases, traditional material charged with a layer of acquired meaning has been employed to intensify a situation on stage; and once again the references will only be accessible to the "knowledgeable" listener.
In these and similar harrowing moments, modern composers have turned to tradition and, as Hegel would say, "sublated" it in their music. The 19th century, in contrast, is separated from the 20th by a historical gulf as great as the aversion that even a his-toricizing composer would doubtless have
felt toward such cryptic quotations. .$?
A century earlier, however, in the age of J. S. Bach, a Protestant chorale was public property; and it was heard not only in con?gregational singing (where even today it survives after a fashion), but in art music, where the music of the church enjoyed pride of place.
Much has been said about Bach's subtle and variegated practice of arranging chorales for the organ or interpolating them into his cantatas and Passion settings. The relation between these chorales and the words of the aria, biblical passage, or sermon has been thoroughly explored, as have the subtle verbal and non-verbal (i.e. numerological) references in the organ chorales. But even in his cantatas, Bach placed his trust in the melodic and theological burden of chorales and incorpo?rated them in his intellectual and musical designs, just as Berg was to do 200 years later in his instrumental Requiem.
If the members of the Mtihlhaus con?gregation were capable of hearing a delicate chorale melody, Bach could be quite certain that they would, in their imagination, also
hear the words, or at least those of the first stanza. The same can hardly be said of today's listeners. One association that can never be forgotten, once noticed, is the opening of the chorale "Aus tiefer Not schrei ich zu dir" as heard in the concluding bars of the c-minor fugue of The Well-Tempered Clavier II (BWV 871). Surprisingly, to be sure, it occurs here ?; in the major mode, but it is perhaps already latent in the minor-mode fugue subject.
The above examples are but stepping-stones to the breathtaking possibilities that the violin teacher Helga Thoene has unveiled in Bach's Six Solos for unaccompa?nied violin (BWV 1001-1006). Inspired by an invitation to deliver a lecture during the 1985 Bach tricentennial, Thoene delved into '? the idiosyncrasies of Bach's rhythmic notation ; of these pieces and discovered that depending on whether he wrote, say, quarternotes or dotted eighths, the rhythmic durations yielded certain patterns of numbers. As they stand, the Six Solos already appear in a logical sequence: Sonata No. 1 in g minor, Partita No. 1 in b minor, Sonata No. 2 in a minor, Partita No. 2 in d minor, Sonata No. 3 in C Major, and Partita No. 3 in E Major. But Thoene sees more in this sequence than just a key scheme; she sees in the three sonatas a theological progression leading from the Incarnation (Christmas) to the Passion ?' (Easter) and finally to Pentecost. She bolsters her argument with a large number of chorale quotations that can be assigned to the corre?sponding feasts in the liturgical calendar. : Many more correspondences can be discov?ered by applying the principles of gematria, i.e. by assigning numbers to letters of the alphabet. (In this case the assignment is extremely simple: A=l, B=2, etc., with 11=9, UV=20, Z=24.) By adding up the duration of the notes, the number of Bars, and thesg "tonal letters" (i.e. pitches in German letter ; notation) in the sonatas, movements, bars, : or groups of bars, Thoene arrives at, among
other things, numerical values for the com-fe plete Latin Credo, the Magnificat, and, over and over again, the name "Johann Sebastian Bach" and other names. And these are only some of the techniques applied.
It had already been known that the first line of the Pentecostal hymn "Kotnm, heiliger Geist" is hidden in the fugue subject of the Sonata in C Major, now, however, it is possible to view this fact in a larger context. Thoene strengthens her interpretation of the three sonatas with an even more surprising dis?covery. She recalled an old Latin Trinity say?ing found on tombstones and correlated its numeric values to the architecture of the sonatas in a great many ways:
Ex Deo nascimur t] In Christo morimur'fe i Per Spiritum Sanctum reviviscimus
"We are born from GodWe die in Christ ; We are reborn through the Holy Spirit"-this Trinitarian formula is fascinating for its concise summary of central articles of Christian faith. Thoene has retraced its occurrences in the Partita in d minor, partic?ularly in the concluding Chaconne. Using an original bar-by-bar summation, she construes the nine-note bass figure of the Chaconne as the same gematric figure, 756, that applies to the entire saying. She also advances the thesis that Bach wrote the Chaconne as a tombeau or epitaph for his wife Maria Barbara after her unexpected death in 1720. Here Thoene bases her argument on the prevalence of the Easter hymn "Christ lag in Todesbanden" as well as a great many combinations of pitches, numbers, and words, not to mention other chorales. Tonight's performance of the Chaconne with members of The Hilliard Ensemble makes perceivable the ingenious interplay between the virtuosic and harmonically complex violin part and the lines of the chorales. ?'
? There can be little doubt that the baroque age took special delight in number games and riddles, especially those having to do with music, e.g. puzzle canons. Perhaps the most famous example is the sheet of manuscript paper that Bach holds in his hand in the portrait by Elias Gottlob Haussmann (1747), presenting it to the view of the observer. It is a Canon triplex a 6 voci on three staves. What is it supposed to sound like Friedrich Smend subjected this canon to a thorough analysis and came up with a multitude of numerological and gematric interpretations in which the numbers 14 (for "Bach"), 41 ("J. S. Bach"), and 158 ("Johann Sebastian Bach") play a crucial role.
"Morimur," the middle line in the Trinitarian formula, refers to death as a pas?sage into life. This basic Christian tenet is deeply rooted in the baroque age, and thus in Bach's consciousness. It is accompanied by the view that earthly music is but afigura, an anticipatory likeness that prefigures the future sounds of heaven, which therefore exist in the world in hidden form. The language of notes and the symbolism of numbers provide the necessary tools and resources to unveil the status of such encryptions and the secret nature of such prefigurations of the celestial harmony. This lends to death a paramount role that can easily be detected in Bach's music.
Program note provided by ECM Neiv Series.

he Hilliard Ensemble, founded in 1974 and named after the British ' miniaturist painter Nicholas
Hilliard, is one of the world's finest vocal chamber ensembles, and is probably unrivaled for its formidable repu?tation in the fields of both old and new music. The ensemble's performing schedule is busy and varied, amounting to some hun?dred concerts a year. It has a large following in Europe, particularly in Mediterranean and central European countries, and also tours frequently in Japan, the US, Canada and Australia. In 1997, The Hilliard Ensemble commemorated the 500th anniversary of the death of Ockeghem with a special tribute program that they also recorded on their own label, Hilliard LIVE. The three other releases on the label feature works by Perotin, Brumel and Dufay. In 1998, ECM released a recording of the Ensemble performing Lassus's Requiem and the Sibylline Prophecies; Spring 2000 saw the issue of In Paradisum, which includes music by Palestrina and Victoria. During 1999, following the world?wide success of Officium (a collaboration with saxophonist Jan Garbarek), The Hilliard Ensemble renewed its collaboration with Jan Garbarek to coincide with the release of their new joint album Mnemosyne, giving numerous performances all over Europe. In 2001 ECM released a CD of Bach works heard tonight, Morimur, radically rethought thanks to new scholarship, which sat near the top of Billboard's "Best Sellers" list. .., . -;
Tonight's performance marks The Hilliard Ensemble's VMS debut. . ,
, hristoph Poppen not only enjoys a reputation as a soloist, conductor, and chamber musician, he is also f revered for his teaching activities on the international music scene. ?', Born in 1956 in Miinster, he regards music ., as a way of life that is unique in its intensity. He has won prizes at numerous national and-international violin competitions, and in 1978 established the Cherubini Quartet which, with Poppen as first violinist, was awarded the Grand Prix at the 1981 International String Quartet Competition in Evian, France. Concerts in almost all the world's major con?cert venues followed, as well as numerous CD, radio and television recordings. He has also made appearances with leading orchestras and conductors as soloist. Mr. Poppen taught a! the Detmold Conservatory as Professor for Violin and Chamber Music between 1988-1995. In 1995 he began a professorship at the "Hanns Eisler" Hochschule fur Musik in Berlin where he subsequently served as pres?ident from 1996 through 2000. In October 2001 he assumed the role of Artistic Director
of the ARD International Instrumental Music Competition.
Christoph Poppen has released a number of CDs together with the Munich Chamber Orchestra. The first step in a longer rela?tionship with ECM Records is the recently released CD recording of works by Karl Amadeus Hartmann. M
Tonight's performance marks Christoph m Poppen's UMS debut. M
Helga Thoene was born in Rheydt, in the Rheinland of Germany. She studied violin in Cologne, Amsterdam and Berne. A professor for 30 years at the Robert-Schumann Con?servatory in Diisseldorf, she taught violin, theory and performance practice. She was also head of the Bach Society in Diisseldorf for 10 years. Specializing in violin repertoire from the 17th and 18th centuries, Professor Thoene has given many concerts, lectures and workshops in Germany, throughout Europe and in Israel. ----
U MS experience
lease note that a com?plete listing of all UMS ucational activities will pw be conveniently located Ijthin the concert program iction of your program book 111 Education activities are Iso posted on the UMS febsite 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. JonesAmie 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 Li Joao Bosco, Lefe and Zelia Du
Friday, Ja
l, 8 p.m.
y Keybank and McDonald ??its, Inc. MediaSponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, p.m. Michigan Theater Presented with support from JazzNet. 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 Midnight's 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 j-----
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
he FORD HONORS PROGRAM is made possible by a gener?ous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays 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.-------
Immersions ''
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.
MS 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!
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
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 fgjfj
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.
elebrate 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
ofUMS. _________
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 loin 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
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.
ack 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 support
MS 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.
he 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.
nternships 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.
tudents 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.
, ithout the dedicated service of UMS's i 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. m ""
I grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and governmen ;encies--and those who wish to remain anonymous--and extends its deepest gratitude fcq eir support. This list includes current donors as of November 1,2002. Every effort has i HStmade to ensure its accuracy. Please call 734.647.1178 with any errors or omissions
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
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
$7,500-$9,999 -'?
Maurice and Linda Binkow Beverley and Gerson Geltner Prudence and Amnon Rosenthal Edward and Natalie Surovell Marina and Robert Whitman
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 $3,500-S4,999
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
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
Keki and Alice Irani
Robert and Gloria Kerry
Dorian R. Kim -4
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
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Michael and Marilyn Agin
Bernard and Raqucl Agranoff
Jonathan W. T. Ayers
Essel and Menakka Bailey
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Frecdman
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
loan 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
leannine 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
lanet and Bill Cassebaum
Anne Chase
James S. Chen
Don and Betts Chisholm
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Carolyn and L. Thomas Conlin
lim 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
ludy and Bill Crookes
Peter and Susan Darrow
Pauline and Jay ). 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 lohnson 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 LaZebnik 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 and 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 leannette Bittar Stern Victor and Marlenc Stoeffler 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 Weick Robert O. and Darragh H. Weisman Angela and Lyndon Welch Marcy and Scott Westerman
Priicipuh, continued
Roy and JoAn Wetzel Harry C. White and Esther R.
Iris and Fred Whitehouse Max Wicha and
Sheila Crowley Marion T. Wirick and
James N. Morgan Phyllis B. Wright Paul Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zelenock
Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Anastasios Alexiou Dr. and Mrs. David G. Anderson Dr. and Mrs. Rudi Ansbacher Elaine and Ralph Anthony Janet and Arnold Aronoff Norman E. Barnett Mason and Helen Barr Lois and David Baru Tom and ludith Batay-Csorba Dr. Wolfgang and Eva Bernhard John Blankley and
Maureen Folcy
Tom and Cathie Bloem I
Jane Bloom, MD 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 i
Clifford and Laura Craig Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daanc Delia DiPietro and
Jack Wagoner, M.D. Patricia Enns Ms. Julie A. F.rhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dr. and Mrs. John A. Faulkner Dede and Oscar Fcldman Dr. and Mrs. lames Fcrrara Sidney and Jean Fine Carol Finerman Clare M. Fingerlc Herschel Fink
lohn and Karen Fischer
Guillermo Flores
Mr. and Mrs. George W. Ford
Phyllis W. Foster
Betsy Foxman and
Michael Boehnke Dr. Ronald Freedman Professor and
Mrs. David M. Gates ' Drs. Steve Gciringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Cozette Grabb
Dr. and Mrs. Lazar I. Greenfield David and Kay Gugala Carl and lulia Guldberg Don P. Haefner and
Cynthia I. Stewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Jeannine and Gary Hayden Henry R and Lucia Hcinold Mrs. VV.A. Hiltncr Louise Hodgson John H. and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell
Eileen and Saul Hymans John and Grelchen 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
Bernadette Lintz E. Daniel and Kay Long Brigitte and Paul Maasscn Jeff Mason and Janet Netz Griff and Pat McDonald Marilyn J. Meeker Deanna Relyea and
Piotr Michalowski Jeanette and Jack Miller Myrna and Newell Miller Cyril Moscow Edward C. Nelson Roy and Winnifred 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 Reichert Molly Rcsnik and John Martin
H. Robert and Kristin Reynolds lay and Machree Robinson Peter C. Schabcrg and
Norma J. Anirhein Rosalie and David Schottenfeld lulianne and Michael Shea Thomas and Valerie Yova Sheets Howard and Aliza Shevrin Pat Shure
Frances U. and Scott K. Simonds Irma . Sklenar Alene and Stephanie Smith Lloyd and Ted St. Antoine lames Steward and Jay Pekala leff Stoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundelson Bob and Betsy Teeter Elizabeth H. Thicme William C. Tyler Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachingcr Dr. and Mrs. Samuel C. Ursu Charlotte Van Curler lack and Marilyn van der Velde Mary Vanden Belt Kate and Chris Vaughan Joyce 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 . D. and loyce Woods David and April Wright
Jesus and
Benjamin Acosta-Hughes Tim and Leah Adams Dr. Dorit Adler Robert Ainsworth Mr. and Mrs. Roy 1. Albert Helen and David Aminoff David and Katie Andrea Harlene and Henry Appelman leff and Deborah Ash Mr. and Mrs. Arthur I. Ashe, 111 Dwight T. Ashley Dan and Monica Atkins Eric M. and Nancy Aupperlc 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 Barera Mrs. Jere M. Bauer Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson loan and Rodney Bcntz James A. Bergman and
Penelope Hommel Steven ). Bernstein Donald and Roberta Blitz David and Martha Bloom Dr. and Mrs. Bogdasarian Victoria C. Botek and William
M. Edwards
Dr. and Mrs. Ralph Bozcll Paul and Anna Bradley June and Donald R. Brown Donald and I.ela Bryant Margaret E. Bungc Susan and Oliver Cameron Margot Campos Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cr-Thomas Champagne and
Stephen Savage Dr. Kyung and Young Cho Robert J. Gcrzniewski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Nan and Bill Conlin Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Richard J. Cunningham Marcia A. Dalbey Ruth E. Datz Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis John and Jean Dcbbink Elena and Nicholas Delbanco Richard and Sue Dcmpsey Elizabeth Dexter lack and Claudia Dixon ludy and Steve Dobson Heather and Stuart Dombey Dr. Edward I:. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dutta Dr. Alan S. Eiscr Judge and Mrs. S. J. Eldcn Ethel and Sheldon Ellis Mr. JohnW. Etswcilcr, III Mark and Karen Falahce Elly and Harvey Falii Dr. John W. Farah Drs. Michael and
Bonnie Fauman Joseph and Nancy Ferrario Karl and Sara Fiegcnschuh Dr. James F. Filgas Susan Filipiak
Swing City 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. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Deborah and Henry Gerst Elmer G.Gilbert and
Lois M. Verbrugge Matthew and Debra Gildea lames 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 lanet Goss Michael L. Gowing Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Lila 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.Grilk Dick and Marion Gross Bob and Jane Grover Susan and John Halloran Claribel Halstead ffi?r Yoshiko Hamano 'w??Gf$? Tom Hammond l.ourdes S. Bastos Hansen David B. and Colleen M. Hanson Martin D. and Connie D. Harris Nina E. Hauser
Kenneth and Jeanne Heininger Paula B. Hencken and
George C. Collins J. Lawrence and
Jacqueline Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschel Mr. and Mrs. William B. Holmes John I. Hritz, Jr. Jane H. Hughes Dr. and Mrs. Ralph M. Hulett Jewel F. Hunter Marilyn C. Hunting Thomas and Kathryn Huntzicker Robert B. lngling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga Johnson Stephen Joscphson and Sally Fink Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselemas Professor Martin E. Katz Julie and Phil Kearney James A. Kelly and
Mariam C. Noland John B. and Joanne Kennard Frank and Patricia Kennedy Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Mrs. Khea K. Kish Paul and Dana Kissner lames and Jane Kister Dr. David E. and Heidi
Castleman Klein ?tevc and Shira Klein
Laura Klem
Anne Kloack
Thomas and Ruth Knoll
Dr. and Mrs. Melvyn Korobkin
Bert and Geraldinc Krusc
David W. Kuchn and
Lisa A. Tcdcsco Mrs. David A. Unius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurancc Beth and George LaVoic David Lebenbom Cyril and Ruth Lcdcr lohn and Theresa Lee Frank Legacki and Alicia Torres Jim and Cathy Leonard Sue Leong Carolyn Lepard Myron and Bobbie Levine Donald I. and
Carolyn Dana Lewis Ken and Jane Lieberthal Leons and Vija Liepa Rod and Robin Little Vi-Cheng and Hsi-Yen Liu loan Lowenstein and
lonathan Trobc Ronald Longhofer and
Norma McKenna Richard and Stephanie Lord Charles and ludy Lucas Carl J. Lutkehaus Pamela J. MacKintosh Virginia Mahle Latika Mangrulkar Mclvin and lean Manis Nancy and Philip Margolis Ann W. Martin and Russ Larson lames E. and Barbara Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallister Margaret E. McCarthy Ernest and Adelc McCarus Margaret and
Harris McClamroch Michael G. McGuire lames Mclntosh Nancy A. and Robert E. Meader Gerlinda S. Mckhiori Ph.D. ingrid Mcrikoski Bernice and Herman Mcrte George R. and Brigitte Merz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Mill' Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
[ane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault Alexander Nelson lames G. Nelson and
Kathcrinc M. lohnson Laura Nitzberg and
Thomas Carli Arthur and Lynn Nusbaum Dr. Nicole Obregon
Robert and Elizabeth Oneal Constance and David Osier Marysia Ostafin and
George Smillic Drs. Sujit and Uma Pandit William and Hedda Panzer Nancy K. Paul Wade and Carol Peacock Zoe and oe Pearson Karen Tyler Perry Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonnc Plantinga Bill and Diana Pratt Jerry and Lorna Prescoit Larry and Ann Preuss J. Thomas and Kathleen Puslcll Lcland and
Elizabeth Quackenbush Patricia Randlc and fames Eng Jirn and leva Rasmusscn Anthony L. RefTells and
Elaine A. Bennett lack and Margaret Ricketts Constance O. Rinehart Kathleen Roelofs Roberts Mr. and Mrs. Stephen ). Rogers Robert and Joan Rosenblum Mr. Haskell Rothstein Doug and Sharon Rothwcll Sally Rutzky Arnold Samcroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss John and Rcda Santinga Michael and Kimm Sarosi Dr. Stephen . and Kim R. Saxe Gary and Arlene Saxonhousc Albert J. and Jane L. Sayed Frank J. Schauerte Richard Black and
Christine Schesky-Black David and Marcia Schmidt Jean Scholl David E. and
Monica N. Schteingart Richard A. Seid Mrs. Harriet Selin Judith and Ivan Sherick George and Gladys Shirley lean and Thomas Shope Hollis and Martha A. Showalter John and Arlene Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Sloltow Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Arthur and Elizabeth Solomon Yoram and Eliana Sorokin Tom Sparks
Larry and Doris Sperling Jeffrey D. Spindler Burnette Stacbler -
Gary and Diane Stahle T Frank D. Stella a
Rick and Lia Stevens Stephen and Gayle Stewart
Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Richard and Diane Sullivan Brian and Lee Talbot Margaret Talburtt and
James Peggs Eva and Sam Taylor Stephan Taylor and
Elizabeth Stumbo ??)
fames I., and Ann S. Tclfcr "' Paul and Jane Thielking Edwin ]. Thomas Bette M. Thompson Nigel and )ane Thompson Dr. and Mrs. Robert F. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Tovvnley Jim Toy
Bill and Jewell Tustian Tanja and Rob Van dcr Voo LourdcsVelcz.MD Wendy L. Wahl and
William R. Lee Charles R. and
Barbara H.Wallgren Carol Weber Deborah Webster and
George Miller Lawrence A. Weis Susan and Peter Westerman Iris and Fred Whit chouse Leslie Clare Whit field Professor Steven Whiting Nancy Wiernik Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Beverly and Hadley Wine Beth and I. W. Winsten Lawrence and Mary Wise Charles Witke and Aileen Gatten Charlotte A. Wolfe Al and Alma Wooll Don and Charlotte Wyche Richard Yarmain MaryGrace and Tom York Ann and Ralph Youngrcn Gail and David Zuk
Ronald Albuchcr and Kevin Pfau Gordon and Carol Allardyce Phyllis Allen
Richard and Bcttye Allen Barbara and Dean Alseth Forrest Alter Richard Amdur Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Catherine M. Andrea till B. and
Thomas [. Archambeau M.D. Helen Aristar-Dry Bert and Pat Armstrong Thomas and Mary Armstrong Ciaard and Ellen Arncson Jack and Jill Arnold Dr. and Mrs. Allan Ash
Advocates, continued
lames and Doris August John and Rosemary Austgen Erik and Linda Lee Austin Ronald and Anna Marie Austin William E. and
Patricia K.Austin,Jr. Shirley and Donald Axon Virginia and lerald Bach man Mr. Robert M Bachtcal Mark Baerwolf Prof, and Mrs. I. Albert Bailey Joe and Helen Logelin Helena and Richard Balon Maria Kardas Barna Laurie and Jeff Barnett Robert and Carolyn Bartle Leslie and Anita Bassett Francis J. Bateman Charles Baxter
Deborah Bayer and Ion Tyman Kenneth C. Beachler lames and Margaret Bean Frank and Gai! Beaver Robert Beckley and
Judy Dinesen Nancy Bender Walter and Antje Benenson Mr. and
Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg
James K. and Lynda W. Berg Harvey Berman and
Rochelle Kovacs Berman Kent Berridge Gene and Kay Berrodin Mark Bertz
Ralph and Mary Beuhler T. Patrick and Sarah Bidigare Rosalyn Biederman Christopher Biggc Eric and Doris Billes lack Belli and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and flene Birge Elizabeth S. Bishop Leslie and Roger Black Martin and Mary Black Mary Steffek Blaske and
Thomas Blaske Mark and Lisa Bomia Seth Bonder
Harold W. and Rebecca S. Bonnell Lynda Ayn Boone Ed and Luciana Borbely Morris and Reva Bornstein Jeanne and David Bostian Jim Botsford and
Janice Stevens Botsford Bob and Jan Bower William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Olin and Aleeta Browder Linda Brown and Joel Goldberg Edward and Jeanettc Browning Molly and John Brueger John and Nancy Buck Elizabeth Buckner and
Patrick Herbert Marilyn Bur hop Joanne Cage
Brian and Margaret Callahan Louis and Janet Callaway Barb and Skip Campbell Susan Y. Cares
James and Jennifer Carpenter Dennis B. and
Margaret W. Carroll
John and Patricia Carver
Cynthia Casteel
Margaret and William Caveney
K. M. Chan
Samuel and Roberta Chapped
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Nancy Cillcy
Barbara Cingel
Donald and Astrid Cleveland
Mr. FredVV. Cohrs
Willis Colburn and Dcnisc Park
Michael and Marion T. Collier
Ed and Cathy Colone
Wayne and Melinda Colquitt
Kevin and Judith Compton
M. C. Conroy
Jeff Cooper and Peggy Daub
Mr. and Mrs. Herbert Couf
Brian T and Lynnc P. Coughlin
Marjorie A. Cramer
Richard and Penelope Crawford
Mary C. Crichton
Mr. and Mrs. lames I. Crump
Peggy Cudkowicz
Townley and Joann Culbcrtson
ohn and Carolyn Rundell Culolta
Marcio Da Fonseca
Mr. and Mrs. John R. Dale
Marylee Dalton
Mr. and
Mrs. Robert L. Damschroder Timothy and Robin
Mr. and Mrs. Norman Dancy Stephen Darwall and
Rosemarie Hester DarLinda and Robert Dascola Carol Dasse Ruth E. Datz Sally and Jack Dauer Mr. and Mrs. Arthur W. Davidgc Mark and Jane Davis State Rep. and
Mrs. Gene De Rossctt Dr. and Mrs. Raymond F. Decker Joe and Nan Decker Peter and Deborah Deem Rossana and George DeGrood George and Margaret DeMuth Pamela DcTullio and
Stephen Wiseman Don and Pam Devine Martha and Ron DiCccco Timothy L. Dickinson and
Anja Lehmann
Andrzej and Cynthia Dlugosz Ruth J. Doane Mrs. Ruth P. Dorr-Maffctt Bill and Mary Doty Victor and Elizabeth Douvan Roland and Diane Drayson Mary P. Dubois Ronald and Patricia Due Connie R. Dunlap Richard F. Dunn lean and Russell Dunnaback Dr. and Mrs. Wolf Duvernoy Gavin Eadic and Barbara Murphy Anthony and Sarah Earley Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vcrnon J. and Johanna Ehlers Karen Eisenbrey Chris and Betty Elkins Lawrence Ellenbogen Anthony and Paula Elliott Julie and Charles Ellis
H. Michael and Judith L. Endrcs loan and Emit Engel Karen Epstein and
Dr. Alfred Franzblau Sieve and Pamela Ernst Dorothy and Donald Eschman Mr. and Mrs. Robert B. Fair, Jr. Garry and Barbara Faja Inka and David Felbeck David and Karen Fcldman Phil and Phyllis Fell in Larry and Andra Ferguson Dennis and Claire Fernly Carol Fierke Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Beth and Joe Fitzsimmons George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Burke and Carol Fossee Scott Fountain William and Beatrice Fox Dan and Jill Francis Hyman H. Frank Lora Frankel Lucia and Doug Frecth Richard and Joann Freethy Otto W. and Helga B. Freitag Sophia L. French loanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram Gail Fromes Jerry Frost Ms, Carolyn Frost Joseph E. Fugere and
Marianne C. Mussett Douglas I. Futuyma Frances and Robert Gamble Mr. and Mrs. James E. Gardner Karen Gardstrom loann Gargaro
R. Dennis and lanet M. Garmcr Jack J. and Helen Garris C. Louise Garrison Janet and Charles Garvin Tom Gasloli
Wood and Rosemary Gcist Michael and
Ina Hancl-Gerdenich W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis Joyce and Fred Ginsberg Kathleen Glezcn Mr. and Mrs. Robert Gold Ed and Mona Goldman Mrs. Esztcr Gombosi Mitchell and Barbara Goodkin Selma and Albert Gorlin William and Jean Gosling Kristin A. Goss
Christopher and Elaine Graham Helen M. Graves Isaac and Pamela Green Deborah S. Greer Linda Gregcrson and
Steven Mullancy G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Gribble Rita and Bob Gricrson Laurie Gross Robin and Stephen Gruber
Arthur W. Gulick, M.D. Lorraine Gutierrez and
Robert Peyser Barbara H. Hammitt Dora E. Hampel Don and Jan Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurelynnc D. and
George Harris Susan Harris James R. Hartley Anne M. Heacock Henry and Mary S. Healey Dr. and Mrs. James Heiter William C. Heifer Sivana Heller Dr. and
Mrs. John W. Henderson Karl Hcnkel and Phyllis Mann Al and Jolene Hermalin Jeanne Hernandez Ken and Carrie Herr Roger and Dawn Hertz Ronald D. and Barbara J. Hertz Roger F. Hewitt John and Martha Hicks Herb and Dee Hildebrandt Peter G. Hinman and
Elizabeth A. Young lames and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnkc Scott M. Holda Gad Holland Mrs. Howard Holmes Kenneth and Joyce Holmes Dave and Susan Horvath Paul Hosslcr Dr. Nancy Houk James and Wendy Fisher House Jeffrey and Allison Housner Gordon Housworth Kenneth and Carol Hovey Mrs.V.C. Hubbs Judc and Ray Huetteman Harry and Ruth Huff JoAnnc W. Hulce Alan and Karen Hunt Virginia E. Hunt Edward C. Ingraham Perry Irish Kali Israel
Sid and Harriet Israel Judith G. Jackson Prof, and Mrs. John H. Jackson David Jahn Elizabeth Jahn Donald E. and
Vivienne B. Jahncke Dr. and Mrs. Joachim Janecke Nick and Julia Janosi Dean and Leslie Jarrett Jeff Javowiaz and
Ann Marie Petach Marilyn G. Jeffs Frances and Jerome Jelinck Keith D. and Kathryn H. Jensen Margaret Jensen Christopher P. and
Sharon Johnson Mark and Linda Johnson Constance L. Jones Dr. Marilyn S. Jones Paul R. and Mercdyth Jones Mary Kalmes and
Larry Friedman
Atlyn and Shcrri Kan tor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Alex and Phyllis Kato Deborah and Ralph Katz Allan S. Kaufman, M.D. Dennis and Linda Kayes Brian Kcllcy Richard Kennedy Linda D. and Thomas E. Kenney George L. Kcnyon and
Lucy A. Waskell David J. and JoAnn Z. Kcosaian Nancy Keppelman and
Michael Smerza John Kiely
Paul and Leah Kilcny Jeanne M. Kin Howard King and Elizabeth
Jean and Arnold Kluge Dr. and Mrs. William L. Knapp Rosalie and Ron Koenig Michael J. Kondziolka Alan and Sandra Kortesoja Dr. and Mrs. Richard Krachenberg lean and Dick Kraft Barbara and Ronald Kramer Doris and Don Kraushaar Edward and Lois Kraynak Sara Kring William G. Kring Alan and lean Krisch Mr. and Mrs. John Lahiff Tim and Kathy Laing Mr. and Mrs. Seymour 1-ampert Henry and Alice Landau David and Darlene Landsittel Jerry and Marilyn Largin Carl F. and Ann L. LaRue Judith and Jerold Lax Fred and Ethel Lee Diane Lehman Jeffrey Lehman Ann M. Leidy Richard and Barbara Leite Derick and Diane tenters Richard LeSueur David E. Levine Harry and Melissa LeVine George and Linda Levy David Lewis
Norman and Mira Lewis Ralph and Gloria Lewis Robert and Julie Lewis Tom and Judy Lewis Arthur and Karen Lindenberg Mark Lindley and Sandy Talbott Dr. and Mrs. Richard H. Lineback Michael and Dcbra Lisull Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F. A. Locke Dr. Lcnnart H. Lofstrom Julie M. Loftin lane Lombard David Lootens Florence Lopatin Armando Lopez Rosas Barbara R. and Michael Lott Christopher and Carla Loving Lynn Luckenbach Marjory S. Luther Elizabeth L. Lutton William T. Lyons Walter Allen Maddox Morrine Maltzman Pia Maly Sundgrcn Pearl Manning
Sheldon and Gcraldinc Markel
Erica and Harry Marsden
Irwin and Fran Martin
H.L Mason
Wendy Massard
Debra Maltison :
Janet Max
Glenn D. Maxwell
Carole Mayer
Olivia Maynard and
Olof Karl stroni Patrick McConncll Bob and Doris Melting Allen and Marilyn Menlo Lori and Jim Mcrcier Arthur and Elizabeth Messiter Helen Metzner Don and Lee Meyer Mrs. Suzanne Meyer Leo and Sally Miedlcr William and Joan Mikkclsen Carmen and Jack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogerman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Seigo Nakao lean Marie Moran and
Stefan V. Chmielewski Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morlcy A. A. Moroun John and Michelle Morris Rick Motschall fames and Sally Mueller Bernhard and Donna Muller Marci and Katie Mulligan Lisa Murray and Mike Gatti Lora G. Myers Lorraine Nadelman and
Sidney Warschausky Arthur and Dorothy Nesse Sharon and Chuck Newman William and Ellen Newsom Mr. and Mrs. James K. Newton John and Ann Nicklas Mrs. Marvin Niehuss Richard and Susan Nisbett Donna Parmelee and
William Nolting Christcr and Outi Nordman Richard and Caroline Norman Richard S. Nottingham Jolanta and Andrzej Nowak Patricia O'Connor Maury Okun and Tina Topalian Elizabeth Olson and Michele Davis Ncls R. and Mary H. Olson Paul L. and Shirley M. Olson Kathleen I. Opcrhall Fred Ormand and
Julia Broxholm
David Orr and Gwynnc Jennings Dr. Jon Oscherwitz Mr. and Mrs. James R. Packard Daniel and Laura Palomalu Anthea Papista Donna D. Park Bill and Katie Parker Sarah Parsons Robert and Arlene Paup William and Susan Penner Steven and Janet Pepe Mr. Bradford Perkins Susan A. Perry
Advocates, continued
Douglas Phelps and
Gwendolyn Jessie-Phelps Nanc' S. Pickus Robert and Mary Ann Pierce William and Betty Pierce Dr. and Mrs. lames Pikulski Susan Pollans and Alan Levy Patricia I. Pooley Robert and Mary Pratt Jacob M. Price Tony and Dawn Procassini Lisa M. Profcra Ernst Pulgram Jonathan Putnam Dr. G. Robina Quale-Leach Mr. and Mrs. Mitchell Radcliff Dr. and Mrs. Robert Rapp Mr. and
Mrs. Robert H. Rasmussen Maxwell and Marjorie Reade Richard and Patricia Redman Michael I. Redmond Russ and Nancy Reed Dr. and Mrs. lames W. Reese Mr. and Mrs. Stanislav Rehak Mr. and
Mrs. Bernard E. Reisman J. and S. Remen Anne and Fred Remley Duane and Katie Renken Nancy Reynolds Alice Rhodes Lou and Sheila Rice Walton and Sandra Rice James and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
Dave and Joan Robinson Janet K. Robinson, Ph.D. Jim and Kathleen Robinson Jonathan and Anal.i Rodgers Mary Ann and Willard Rodgers Michael J. and Yelena M. Romm Edith and Raymond Rose Elizabeth A. Rose Stephen Rosenblum and
Rosalyn Sarver Richard Z. and
Edie W. Rosenfeld Charles W. Ross Dr. and Mrs. Walter S. Rothwell William and Lisa Rozek Gladys Rudolph Dr. Glenn R. Ruihley Scott A. Ryan Mitchell and Carole Rycus James and Ellen Saalberg Joan Sachs Brian Salesin Ms. Stephanie Savarino Sarah Savarino Jeri Sawall
Drs. Edward and Virginia Sayles Jochcn and Helga Schacht Mary A. Schieve Courtland and Inga Schmidt Elizabeth L. Schmitt Susan G. Schooner Dietrich and Mary Schulze Peter and Kathleen Scullcn Frank and Carol Seidl Suzanne Selig Janet Sell
Louis and Sherry Senunas Richard H. Shackson .,.,... Terry Shade Matthew Shapiro and
Susan Garctz David and Elvera Shappirio
Larry Shear and
George Killoran Ingrid and Cliff Sheldon Bright Sheng Lorraine M. Sht-m Patrick and Carol Sherry Mary Alice Shulman )an Onder
Douglas and Barbara Sidcrs Dr. Bruce M. Siegan Eldy and Enrique Signori Susan Silagi
Costella Simmons-Winbush Mildred Simon Michael and Maria Simonte Alice A. Simsar Alan and Eleanor Singer Scott and loan Singer Donald and Susan Sinta Bernard I. Sivak and
Loretta Polish Beverly N. Slater David E. Smith Don and Dorothy Smith Haldon and Tina Smith Dr. and Mrs. Michael V. Smith Paul and Julia Smith Susan E. Smith Mr. Webster Smith Hugh and Anne Solomon James A. Somers Dr. Sheldon and Sydelle Sonkin Errol and Pat Soskoine Becki Spangler and Peyton Bland Peter Sparling and
John Gutoskey Elizabeth Spencer and
Arthur Schwartz Steve and Cynny Spencer Jim Spevak
Judy and Paul Spradlin Charles E. Sproger Constance D. Stankrauff Mr. Stephen S. Stanton Stephanie and Chad Stasik Mr. and Mrs. William C. Stebbins Virginia and Eric Stein Dr. Gcorgine M. Steude Jim and Gayle Stevens Sue A. Stickel John and Beryl Stimson James L. Stoddard Mr. and Mrs. James Bower Stokoe Bob and Shelly Stoler Benjamin and Mona Slolz Eric and Ines Storhok Clinton and Aileen Stroebel Thomas Stulberg Roger Stutesman Nancy Bielby Sudia Earl and Phyllis Swain Mike and Donna Swank Thomas and Anne Swantek Richard and lune Swartz Michael W.Taft and
Catherine N. Herrington Larry and Roberta Tankanow Gerald and Susan Tarpley Michael and Ellen Taylor Sharon Gambin and
Robert Teicher James B. Terrill
Denisc Thai and David Scobey Mary H. Thieme Carol and Jim Thiry Catherine Thoburn Norman and Elaine Thorpe Michael Thouless Anna Thuren Peggy Tieman
Bruce Tobis and Alice Hamele Ronald and Jacqueline Tonks John and Geraldine Topliss Sarah Trinkaus
L' -,r,A C-xnArTrttJ.-n
Roger and Barbara Trunsky
Jeff and Lisa Tulin-Silvcr
Michael Udow
Mr. Thomas W.Ufer i
Alvan and Katharine Uhle
Paul and Fredda Unangst -i
Bernice G. and
Michael L. Updike Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Bram and Lia van Leer Fred and Carole van Reesema Virginia Vass
Sy and Florence Veniar ,; Katherine Verdery Ryan and Ann Verhey-Henke Marie Vogt
Harue and Tsuguyasu Wada Virginia Wait David C. and ?
Elizabeth A. Walker Timothy Wang :
)o Ann Ward Drs. Philip and Maria Warren Arthur and Renata Wasserman Leo Wasserman Mr. and Mrs. Warren Watkins Joan D. Weber
Richard and Madelon Weber Carolyn I. Weigle Donna G. Weisman (ohn, Carol and Ian Welsch John and Joanne Werner Michael and Edwenna Werner Helen Michael West Paul E.Duffy and
Marilyn L. Wheaton Mary Ann Whipple Gilbert and Ruth Whitaker James B. and Mary F. White Thomas F. Wiedcr William and Cristina Wilcox Sara S. Williams Shelly F. Williams Anne Marie and Robert J. Willis Donna Winkelman and
Tom Easthope
Sarajane and )an Winkelman Mark and Kathryn Winterhalter Julie M.Wolcott Ira and Amanda Wollner Richard E. and Muriel Wong Ronald and Wendy Woods Stan and Pris Woollams Israel and Fay Woronoff Alfred and Corinne Wu Patricia Wulp Robert Wurtz Fran and Ben Wylie lohn and Mary Jean Yablonky lames and Gladys Young Mayer and Joan Zald Sarah Zearfoss and
Stephen Hiyama Susan Zerweck
$100,000 and above
Ford Motor Company l:und Forest Health Services
Corporation Pfizer Global Research and
Development: Ann Arbor
Laboratories University of Michigan
$20,000-$49,999 Borders Group, Inc. DaimlerChrysler
Corporation Fund Office of the Senior Vice
Provost for Academic Affairs TIAA-CREF Individual and
Institutional Services, Inc.
$10,000-$ 19,999 Bank of Ann Arbor Bank One jSaESajfci
Brauer Investments : CFI Group, Inc. DTE Energy Foundation KeyBank
McDonald Investments, Inc. McKinley Associates, Inc. Sesi Lincoln Mercury
Volvo Mazda Thomas B. McMullen
Company, Inc.
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Comerica Incorporated Dennis Dahlmann Inc. Edward Surovell Realtors Elastizell Corporation of
Learning Express-Michigan MASCO Charitable Trust Miller Canficld Paddock and
Stone, P.I..C. National City Bank Pepper Hamilton LLP
$l,000-$4,999 Alf Studios Blue Nile Cafe Marie
Chase Manhattan Mortgage Comcast
Holcim (US) Inc. Joseph Curtin Studios Lewis Jewelers ProQucst Republic Bank TCI; Bank
Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus BKR Dupuis & Ryden, I'.C. Burns Park Consulting Cemex Inc.
Clark Professional Pharmacy Coffee Express Dr. Diane Marie Agresta Fdward Brothers, Inc. Fleishman Hillard Inc. Galamp Corporation Garris, Garris, Garris
& Garris, P.C. Guardian Industries Malloy Lithographing Michigan Critical Care
Consultants Quinn EvansArchitects Rosebud Solutions Seaway Financial
AgencyWayne Milewski ScloShevel Gallery Swedish Women's Educational
Association Thalner Electronic ,
Laboratories Inc.
UMS gratefully acknowledges :he support of the following oundations and government igencics:
$100,000 and above
The Ford Foundation lazzNetDoris Duke Charitable
Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
$50,000-399,999 Community Foundation for
Southeastern Michigan The Whitney Fund
$10,000-S49,999 Association of Performing Arts
Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for
the Arts National Dance Project
Sl,000-S9,999 Arts Midwest Gelman Educational
Foundation Heartland Arts Fund The Lebensfeld Foundation Mid-America Arts Alliance Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sams Ann Arbor Fund Rosalie EdwardsVibrant Ann
Arbor Fund
$100-$999 Erb Foundation Maxine and Stuart Frankel Foundation
Contributions have been
received in hoior andor memory of the following individuals:
Esscl and Menakka Bailey T. Earl Douglass
Alice Kelsey Dunn---------------
Michael Gowing .
Dr. William Haeck
Carolyn Houston -j
Harold lacobson
Joel Kahn
Elizabeth E. Kennedy
Ted Kennedy, Jr.
William McAdoo
Frederick N. McOmber
Gwen and Emerson Powric
Professor Robert Putnam
Ruth Putnam
Steffi Reiss
Margaret Rothstcin ,. '
Eric H. Rothstein I
Ned Shure
Dora Maria Sonderhofl
Wolfgang F. Stolper
Diana Stone Peters
Isaac Thomas
Charles R. Tieman r -
Francis V. Viola III
Horace Warren
Carl H. Wilmot
Elizabeth Yhouse
The Burton Tower Society recog?nizes and honors those very spe?cial friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational opportunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G. Anderson
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. Hilbcrt Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Barbara Everitt Bryant
Pal and George Chatas
Mr. and Mrs. John Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Beverley and Gcrson Gcltner John and Martha Hicks Mr. and Mrs. Richard Ivcs Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGcoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and
Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L Rodgers Prudence and
Amnon Rosenthal Irma J. Skelnar :
Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
The future success of the
University Musical Society is secured in part by income from UMS's endowment. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Acklcy ___________
Endowment Fund Amster Designated Fund Catherine S. Arcure Endowment
Choral Union Fund Hal and Ann Davis Endowment
Oitmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinnoy
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerl
Sloan Endowment Funa University Musical Society
Endowment Fund
A-1 Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kern-town
Amadous Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashlev Mews
Lois and David Baru Baxter's Wine Shop Kathleen Beck Bella Ciao Trattoria Kathy Benton and Bob Brown Bivouac
The Blue Nile Restaurant Bodywisc Therapeutic Massage Mimi and Ron Bogdasarian Border Book and Music Janice Stevens Botsford Susan Boell Tana Brciner Barbara evcritt Bryant By the Pound Cafe Marie Cappellos Hair Salon Coach Me Fit Bill and Nan Conlin M.C. Conroy
Hugh and Hlly Cooper p
Cousins Heritage Inn Roderick and ManAnn Daane D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group Dough Boys Bakery The tarle
Eastover Natural Nail Care Katherine and Damian Farrcll Ken and Penny Fischer Food An Sara Frank The Gandy Dancer " '" n Gcltner
vjum IIUIW3I midd Company Linda and Richard Greene Nina Hauser John's Pack & Ship ve and Mercy Kasle
Kerrytown Bistro Kilwin's Chocolate Shoppe King's Keyboard House
Laky's Salon Ray Lance
George and Beth Lavoie LeDog
Leopold Bros. Of Ann Arbor Richard LeSucur Carl Lutkehaus Doni Lystra Mainstreet Ventures
it and Jeanne Merlanti
's, Inc. and ort Sedan, LTD Moe Sport Shops Inc. 11 ' ---?' ' -Mnda Morris
Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
1 Uvir.lnriM_______
Preview Properties
""oducc Station :
indy Parrish Fine Framing Red Hawk Bar & Grill ;
Regrets Only Rightside Cellar RitzGitr --rt11---"--?-Don and . Safa Salon and Day Spa Salon Vertigo
. _,j Sava.....
Penny and Paul Schreiber cu-man D-"-''k--
:tta Sk Dr. Elaine R. S
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar
20 Alden B. Dow Home
& Studio
40 Ann Arbor Builders 42 Ann Arbor Symphony
Orchestra 44 Automated Resource
Management, Inc. 24 Bank of Ann Arbor
42 Bellanina Day Spa 44 Beresh Jewelers
22 Bodman, Longley and
Dahling, LLP 18 Butzel Long 52 Charles Reinhart
Realtors _. .:
22 Chelsea Musical ."
Celebrations 10 Comerica, Inc. 34 Dr. Regina Dailey 38 Dobson McOmber 20 Edward Surovell
Realtors i
22 Forest Health Services 24 Fraleigh's Nursery 56 Glacier Hills :
38 Howard Cooper
Import Center '?:
43 Huron Valley Tennis Club
34 IATSE Local 395 38 Journeys International 12 Kellogg Eye Center 43 Kerrytown Bistro
44 Key Bank 18 King's Keyboard 13 Lewis Jewelers 24 Littlefield & Sons
Furniture Service 40 Miller, Canfield,
Paddock & Stone 34 Mundus and Mundus 22 National City Bank-Private Investment
47 Performance Network 20 Q Ltd. 34 Red Hawk Bar and
GrillZanzibar 34 Rudolf Steiner School
of Ann Arbor 24 Sweetwaters Cafe' 40 Ufer&Co. 38 UM Museum of Art 32 UMS Development 16 UM School of Music 40 United Bank & Trust 42 University Commons
Blue Hill
Development 28 WDET 'Si

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