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UMS Concert Program, Wednesday Jan. 26- Feb. 13: University Musical Society: Winter 2005 - Wednesday Jan. 26- Feb. 13 --

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Rights Held By
University Musical Society
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Season: WINTER 2005
University Of Michigan, Ann Arbor

university musical society
winter 05
University of Michigan Ann Arbor
2 5 Letters from the Presidents Letter from the Chair
UMS leadership 6 12 13 Corporate LeadersFoundations UMS Board of DirectorsSenate Advisory Committee UMS StaffTeacher Advisory Committee
UMS services 15 18 21 General Information Tickets
UMSannals 23 24 25 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMSexperience 29 32 35 126th UMS Winter Season UMS Education Programs UMS Preferred Restaurant & Business Program
UMSsupport 37 37 39 41 52 Advisory Committee Sponsorship & Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Front Cover Lorin Maazel IChris Lee). Engraving of A Midsummer Night's Dream, Malouma Back Cover Anne-Sophie Mutter. Robert Lepage's The FtrSide of the Moon, DJ Spooky, Soweto Gospel Choir
The University of Michigan joins the University Musical Society (UMS) in welcoming you to the spectacular array of events scheduled for the Winter 2005 Season. We are proud of our wonderful partnership, which
provides outstanding oppor?tunities for University of Michigan students and faculty to learn about the creative process and to enjoy these extraordinary performances.
We are delighted to be working with UMS to help sponsor educational activi?ties, especially the events
related to the visit of the New York Philharmonic on February 5 and 6. Specifically, we are joining UMS in offering master classes for young musi?cians at the University and in the community, in addition to providing an opportunity for Maestro Lorin Maazel to work with our advanced conducting students.
It is hard to believe that an entire year has passed since we re-opened the historic and splendid Hill Auditorium. This year, we will continue our great tradition of brilliant perform?ances with the return appearance of soprano Audra McDonald in January, our first presenta?tion of the South African Soweto Gospel Choir in February, and the other-worldly The Far Side of the Moon in March, by Quebec-based director Robert Lepage and his Ex Machina theater company, with soundscape by the notable per?formance artist Laurie Anderson, the first artist-in-residence at NASA in 2003.
We are also honored to be joining UMS in presenting DJ Spooky's powerful Rebirth of a
Nation and the extraordinary dancing and chore?ography of Ronald K. BrownEvidence, both presented as part of the University's commemo?ration of the birthday of Martin Luther King, Jr. in January.
At the end of February, we look forward to a semi-staged concert performance of Shakespeare's A Midsummer Nights Dream with the Orchestra of the Age of Enlightenment, conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre. This unique production, which will also take place at Lincoln Center, will be presented at Hill Auditorium on February 25.
In 2004, we launched our ambitious capital campaign for the future of the University of Michigan, titled "The Michigan Difference." We have highlighted the arts as a specific area for support. We provide experiences, both in the classroom and throughout our museums and theaters, to stimulate creativity, engage tomor?row's performers and artisans, and showcase the world from diverse points of view. I hope you will join me and many others in moving our University to even greater levels of excel?lence and aspiration.
I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the University Musical Society dur?ing the exhilarating 0405 season. We share the goal of celebrating the arts in an exciting academic milieu.
Mary Sue Coleman
President, University of Michigan
Thank you for attending this performance. I hope we'll see you at other UMS per?formances this winter. Take a look at our complete event listing on p. 29.
The UMS mission includes education,
creation, and presentation. With respect to education, UMS is committed to serving people of all ages. We have a Youth Education Program that each year serves more than 10,000 K-12 students and their teachers. The young people attend UMS youth performances
in area theaters, teachers participate in work?shops that help them make the connections between the arts on the stage and the curricu?lum of the school, and artists make themselves available for post-performance discussions, seminars with students, and in-school visits to classrooms and assemblies. UMS also provides many opportunities for adult patrons who par?ticipate in our study groups, artists' interviews, preand post-concert Meet the Artists sessions, and other learning opportunities.
I want to focus this letter on our work with college and university students. We serve them in many ways. We encourage student attendance at UMS performances with many discount ticket options, from our Half-Price Ticket Sales twice a year to our Rush Ticket program where students can obtain unsold tickets for $10 on the day of performance (or the Friday prior to weekend events). Faculty members purchase discounted
group tickets for their classes, and U-M's Mentorship Program and Arts at Michigan program promote student attendance at UMS events. More and more UM faculty members throughout the entire campus are becoming UMS partners as they provide intellectual, cultural, or historical context about what UMS puts on the stage for their students.
As the New York Philharmonic appears on our series this winter, I'm reminded of one of the most memorable experiences for U-M stu?dents when Leonard Bernstein made his final Ann Arbor appearance on October 29, 1988. Bernstein was for many years the music direc?tor of the New York Philharmonic. His 1988 appearance, however, was with the Vienna Philharmonic in a gala concert celebrating his 70th birthday and the 75th anniversary of Hill Auditorium. On the Friday night a week before the concert, students began to line up outside Burton Tower 14 hours before 550 $10 student tickets would go on sale. The regular ticket prices were $25-$ 125. While waiting in line for the ticket office to open, the inventive U-M students wrote "Messages to Lenny" on a clipboard they circulated. UMS sent more than 100 messages and photographs of the students to Bernstein, who was impressed that a new generation of young people were taking an interest in him.
James Duderstadt had just become president of the University on October 1. He and his wife Anne said they would be pleased to host a post-concert reception for Bernstein, and then made the wonderful suggestion that the other guests be 30 U-M students who would enjoy meeting
Leonard Bernstein talking to students at the U-M President's home in 1988.
David Smith
the Maestro. President Duderstadt left the selection of students to then School of Music Dean Paul Boylan and me. Paul chose 20 stu?dents who, like Bernstein at their age, were studying piano, conducting, and composition. 1 chose the first 10 students in the ticket line, the ones who had spent the night outside Burton Tower, nearly all of whom were freshmen.
After the concert, which included works of Beethoven, Brahms, and Bernstein, the Maestro held court with the 30 students at the President's Home, answering questions and telling stories until 1:30 a.m. At that time, sensing that it would be good to let the Duderstadts get some sleep, Bernstein invited all the students to join him as they would move the party to the Full Moon on Main Street. The upperclassmen drove their cars, and Bernstein invited all the others to jump into his limo for the ride. The student maestro 'dialogue' continued until 4:30 a.m.
In the spring of 1992, three students stopped by my office, asking for a few minutes of my time. I did not recognize them. They intro?duced themselves and told me they would be
graduating soon. They shared that they had had a marvelous experience at Michigan. They had learned a lot in their stud?ies, seen their basketball team win a national championship, and met life-long friends. What they stopped by to tell me was that, for them, the
peak experience of their life at Michigan was their evening with Leonard Bernstein back in 1988. They were freshmen back then and were near the front of the ticket line. The students also noted that, with Bernstein's death in 1990, the same experience they had would no longer be available to any other students, making their time with him much more special. Their visit made my day.
I'd love to hear your stories about UMS events that have had special meaning to you. I also want you to feel free to speak or write to me about anything related to UMS that you think I should know. Look for me in the lobby, call me at 734.647.1174, or send me an email message at
Very best wishes,
Kenneth C. Fischer UMS President
I am so pleased to welcome you to the 2005 Winter UMS season. It promises to be as exciting as always. This winter we are bringing The New York Philharmonic, a semi-staged concert performance of
A Midsummer Nights Dream with the Orchestra of the Age of Enlightenment conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a multi-concert Arab World Music Festival, vocalist Audra
McDonald, and terrific theater and jazz among the more than 30 presentations you will find in your UMS winter season program.
UMS is undertaking its largest fundraising campaign ever, which is incorporated within the $2.5 billion Michigan Difference Campaign of the University of Michigan. UMS's campaign goal is $25 million, to be achieved by the end of 2008. The campaign's objective is to assure that
UMS will continue to be one of the most dis?tinctive presenting organizations in the country by securing its financial future. I invite you to join us in achieving this important objective. There are many ways to participate, and gifts at all levels are welcomed. For more information, please call the UMS Development Office at 734.647.1178.
I wish to thank all of our UMS members whose financial support over and above their ticket purchases helps us fulfill our mission of presentation, education, and creation at the highest level. Their names are listed beginning on page 41 of this program book. And a special thanks to our corporate sponsors whom we recognize on the next few pages.
Enjoy the performance!
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
President, Ford Motor Company Fund "Through music and the arts we are inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community."
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 brilliant people. In order to get people with world-class talent 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 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."
David C. Sharp
Publisher, The Ann Arbor News 'The people at The Ann Arbor News are pleased and honored to partner with and support many community organizations, like the University Musical Society, that as a whole create one of the most vibrant, diverse, and interesting cities throughout this region."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to enriching the life of our community by our sponsorship of the 200405 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past season. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Yousif Ghafari
Chairman, The Ghafari Companies "The Ghafari Companies is pleased to support the University Musical Society and its multicultural pro?gramming. We are especially pleased to be part of the Arab World Music Festival."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Erin R. Boeve
Director of Sales, Kensington Court Ann Arbor "The Kensington Court Ann Arbor is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
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."
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 excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its superior and diverse cultural events, which for 125 years, has brought inspiration and enrichment to our lives and to our community."
Alan Aldworth
Chairman and CEO, ProQuest Company "ProQuest Company is honored to be a new supporter of the University Musical Society's educational programs. I believe UMS is a major contributor to the cultural richness and educational excellence of 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."
Paul A. Phillips
Vice President Business Development, Standard Federal Wealth Management "Standard Federal appreciates and understands the value that arts and music bring to the community. We are proud to be supporters of the University Musical Society."
Nicholas C. Mattera
Assistant Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts program?ming. In particular, TTC supports UMS presentations of global performing arts -programs that help broaden audiences' interest in and understanding of world cultures and celebrate the diversity within our community."
Thomas McDermott
Senior Vice President Americas International, Western Union "Western Union is proud to support organizations and pro?grams that showcase artistic diversity from around the world. We extend our sincere pleasure in being part of the University Musical Society season, and congratulate UMS on its commitment to fostering greater cultural understanding through the arts."
"Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records three great labels long synonymous with the finest in classical music recordings is proud to support our artists performing as part of the University Musical Society's 126th season."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
SI00,000 and above Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
The Japan Foundation
$10,000-49,999 Cairn Foundation Chamber Music America Community Foundation for
Southeastern Michigan Maxine and Stuart Frankel
Foundation National Endowment for
the Arts The Whitney Fund
SI.000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest
Heartland Arts Fund
Issa Foundation
Japan Business Society of
Detroit Foundation Martin Family Foundation Mid-America Arts Alliance Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the
New England Foundation for
the Arts
Sams Ann Arbor Fund Vibrant of Ann Arbor
of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. Allemang,
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Deborah S. Herbert
Carl W. Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino John J. H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Harm Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani 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 Rossi Ray-Taylor John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley
John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey
Jeannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox
H. Michael Endres Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig Meg Kennedy Shaw
Anne Kloack lean Kluge Jill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Swanna Saltiel Jeri Sawall
Penny Schreiber Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasserman Wendy Woods Mary Kate Zelenock
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director
Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of the
Annual Fund and Membership Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development Ben Johnson, Director Rowyn Baker, Youth Education
Manager Bree Doody, Education and Audience
Development Manager William P. Maddix, Education
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
Michael J. Kondziolka, Director Emily Avers, Production Operations
Jeffrey Beyersdorf, Technical Manager Suzanne Dernay, Front-of-House
Coordinator Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Claire C. Rice, Associate
Programming Manager Douglas C. Witney, Interim
Production Director Bruce Oshaben, Dennis Carter,
Brian Roddy, Head Ushers
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager Alexis Pelletier, Assistant John M. Steele, Assistant
Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Caleb Cummings Sara Emerson Joshua Farahnik Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Lauren Konchel Michael Lowney Ryan Lundin Natalie Malotke Brianna McClellan Parmiss Nassiri-Sheijani Erika Nelson Fred Peterbark Omari Rush Faith Scholfield Andrew Smith Sean Walls Amy Weatherford
Kristen Armstrong Steve Hall David Wilson
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth
Barb Grabbe Joan Grissing Carroll Hart Susan Hoover Linda Jones Rosalie Koenig Sue Kohfeldt Laura Machida Christine Maxey-Reeves Patty Meador
Don Packard Michelle Peet Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
UMS services
GENERAL INFORMATION Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church or Michigan Theater please call the UMS Production Office at 734.615.1444.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures 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 Hill Auditorium performances in the 0405 Choral
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have sev?eral events occurring simultaneously in differ?ent theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late seating break is determined by the artist and will generally occur during a suit?able repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late seating policy for family per?formances.
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 retums do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5-per-ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the
performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforget?table performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special cele?bration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or e-mail
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most important, impressive, and influential artists from around the world. For the 0405 season, students 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 pur?chase tickets for any event for 50 off the pub?lished price. This extremely popular event draws hundreds of students every fall. Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two Rush Tickets per valid student ID. For weekday performances, S10 Rush Tickets are available the day of the per?formance between 9 am and 5 pm in person only at the Michigan League Ticket Office. For weekend performances, $10 Rush Tickets are available the Friday before the performance between 9 am and 5 pm in person only at the Michigan League Ticket Office. Students may also purchase two 50 Rush Tickets starting 90 minutes prior to a performance at the perform?ance venue. 50 Rush Tickets are 50 off the original ticket price. All rush tickets are subject to availability and seating is at the discretion of the ticket office.
3. Students may purchase the UMS Student 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 0405 season. With the UMS Student Card, students can buy Rush Tickets up to two weeks in advance, subject to availability.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 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.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
oin the thousands of savvy people who log onto each month!
Why should you log onto
Last season, UMS launched a new web site, with more information for your use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online. You can find out your specific seat loca?tion before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, education events, and more.
Maps, Directions, and Parking. To help you get where you're going...including insider parking tips.
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. A list of all UMS per?formances, educational events, and other activi?ties at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance.
Sound and Video Clips. Listen to audio record?ings and view video clips and interviews from UMS performers online before the concert.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
Photo Gallery. Archived photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
Through a commitment to Presenta?tion, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our com?munity an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 125 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, bal?anced by a commitment to dynamic and cre?ative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through-
out the year presented a series of concerts fea?turing 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 theater. Through educational endeavors, com-
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 70 performances and more than 150 educational events each season. UMS has flourished with the support of a gen?erous community that this year gathers in six different Ann Arbor venues.
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 organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished 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 performances of large-scale works for chorus and orchestra. Eleven 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 Meadow Brook for subscription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 9697 season, the Choral Union again expanded its scope to include per?formances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 0405 season includes a return engagement with the DSO (Orff's Carmina Burana, presented in
Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (which returned to Hill Auditorium last December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April).
The culmination and highlight of the Choral Union's 0304 season was a rare per?formance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos plans to release a three-disc set of this recording this October, featuring the Choral Union and U-M School of Music ensembles. Other noted performances included Verdi's Requiem with the DSO and the Choral Union's 125th series of annual performances of Handel's Messiah in December.
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 theatei favorites with Erich Kunzel and the DSO at Meadow Brook. 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 com?posers of all historical periods; a joint appear?ance 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 or call 734.763.8997.
Piter an 18-month $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation archi?tects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, reno?vations have updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,575.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built 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 "a new theater" was men?tioned. The Powers were immediately interest?ed, realizing that state and federal governments
were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seem?ingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary voter to UMS artists backstage at the Power Center throughout the 0405 season.
Rackham Auditorium
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall, and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strong?ly in the importance of the study of human his?tory 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 Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941,
UMS presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began present?ing artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's return of the Song Recital series and continues to serve as the venue of choice for select chamber jazz performances.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
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.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969, John Cardinal Dearden dedicat?ed 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 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994. St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, 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 contem?plation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
UMS administrative offices returned to their familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the fourth year of the merger of the UMS Ticket Office and th University Productions Ticket Office. Due to thi: 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 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
,of the University of Michigan, Ann Arbor
Winter 2005
Event Program Book Wednesday, January 26 through Saturday, February 12,2005
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perform?ance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use dis?cretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central cam?pus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
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 "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital 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 audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interest 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.
Lahti Symphony Orchestra 5
Wednesday, January 26, 8:00 pm Hill Auditorium
Audra McDonald 15
Sunday, January 30, 4:00 pm Hill Auditorium
New York Philharmonic
Saturday, February 5, 8:00 pm 19
Sunday, February 6, 4:00 pm 2 5
Hill Auditorium
Netherlands Wind Ensemble 35
Thursday, February 10, 8:00 pm Rackham Auditorium
Rennie Harris Puremovement 39
Friday, February 11, 8:00 pm Saturday, February 12, 8:00 pm Power Center
Dear UMS Patrons,
The UMS events covered in this pro?gram book are among the most noteworthy of the season. They include the UMS debut of the Lahti Symphony Orchestra from Finland, the first Hill Auditorium performance of four-time Tony Award-winner Audra McDonald, the opportunity to hear the rarely played Mozart
"Gran Partita" by the Netherlands Wind Ensemble, the UMS pre?miere of hip-hop artist Rennie Harris' new work Facing Mekka, and the return of the New York Philharmonic to Ann Arbor after 33 years. Thank you for coming to today's per-
formance. You can find further details about all these events in this program book.
The events surrounding the New York Philharmonic's concerts represent the new type of orchestral residency that UMS implemented following the final Ann Arbor May Festival in 1995. Founded by UMS and School of Music Director Albert A. Stanley in 1894, the festival began to lose its luster after 90 years of success when the Philadelphia Orchestra ended its 49-year affiliation in 1984. Nothing was quite the same after that glorious run came to an end. Escalating costs, decreases in ticket sales, and difficulties in scheduling appropriate orchestras all contributed to the festival's decline. One particularly challenging aspect of the festival in its later years was its timing it occurred after most U-M students had left the campus for the summer.
UMS undertook an assessment of the May Festival to determine how to retain the best fea?tures of the event in future programming. Patrons requested a season-ending event with a social component, the continued presentation of world-renowned artists, and the maintenance of orchestral residencies that the community could participate in during the academic year.
The results of the study led to two initiatives that have become UMS traditions: 1) The Ford Honors Program, the season-ending benefit event that honors a significant artist or ensemble with a long history with UMS; and 2) orches?tral residencies with renowned orchestras held at a time when U-M and community music students can benefit from them.
This year, both of these traditions continue. On May 14, UMS recognizes the Guarneri String Quartet with its Distinguished Artist Award at the 10th Ford Honors Program. Other Ford Honorees include Van Cliburn, Jessye Norman, Garrick Ohlssohn, Canadian Brass, Isaac Stern, Marcel Marceau, Marilyn Home, Christopher Parkening, and Sweet Honey in the Rock. On February 5 and 6, UMS welcomes the New York Philharmonic for two concerts in Hill Auditorium. The concerts are preceded by an afternoon of orchestra master classes and panel discussions on February 5 at the U-M School of Music. These educational activities are open to the public, continuing the success of other recent orchestral residencies with the Cleveland Orchestra, Chicago Symphony Orchestra, and the San Francisco Symphony by connecting our U-M and greater southeastern Michigan com?munity to exceptional artists.
Thanks again for coming.
Kenneth C. Fischer UMS President
UMS Educational EventS through Saturday, February 12, 2005
AH UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. Please visit for complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail
New York Philharmonic
Residency at U-M School of Music Following two superb residencies with the Cleveland Orchestra and San Francisco Symphony, The U-M School of Music and UMS will bring together members of the New York Philharmonic to lead instrumental sectional master classes with students from the U-M School of Music. A panel of New York Philharmonic staff and musicians will also dis?cuss the life of a professional orchestra member as part of this comprehensive day. A complete schedule of residency activities is available on the UMS website.
Saturday, February 5, 12:00-5:00 pm, U-M School of Music, 1100 Baits Drive
Kennedy Center Workshop
Story Songs for the Young Child ($) Led by Michele Valeri, Kennedy Center Workshop Leader
Even the most difficult concepts for young learners are easily understood and remembered when they are taught through song. Story songs can help open the door to children's language development, thinking skills, and understand?ing of curricular concepts. In this workshop, participants extend their repertoire of songs and experience a process for developing their own story songs. Participants are encouraged to bring a battery-powered tape recorder to cap?ture songs introduced in the workshop. This workshop is recommended for teachers of grades pre-K-3. $20 per participant or $10 for students with valid college ID. To register, contact 734.615.0122 or e-mail A collaboration with the Ann Arbor Public Schools and Washtenaw Intermediate School District.
Monday, February 7, 4:30-7:30 pm, Washtenaw Intermediate School District, 1819 S. Wagner Road
Netherlands Wind Ensemble
Lecture: Diary of an Ex-Basset Horn Player: Reflections on Mozart's "Gran Partita" UMS Director of Programming Michael Kondziolka will discuss Mozart's landmark Serenade No. 10, also known as "Gran Partita". A piece of considerable scale and size, Michael will provide background and insight into a work that is often called the magnum opus of the wind instrument repertoire. Thursday, February 10, 7:00-7:30 pm, Michigan League, Hussey Room, 2nd Floor, 911 N. University Avenue
Rennie Harris Puremovement
NETWORK Reception
The NETWORK reception is hosted by the
African American Arts Advocacy Committee
prior to the performance of Rennie Harris
Puremovement: Facing Mekka. Anyone
interested in connecting, socializing, and
networking with the African-American
community is invited to attend.
Friday, February 11, 6:15-7:45 pm, Michigan
League, 2nd Floor, ConcourseHusseyVandenberg
Rooms, 911 N. University Avenue
Master Class
Members of Rennie Harris Puremovement lead
this hip hop-based dance class. Moderate to
advanced dancers only, limited registration.
To register, contact the UMS Education
Department at 734-647-6712.
Saturday, February 12, 12:00 noon-2:00 pm,
Betty Pease Dance Studio, 2nd Floor, U-M
Department of Dance, 1310 N. University Court
(behind CCRB, off Observatory Road)
Bank One
Lahti Symphony Orchestra
Osmo Vanska, Conductor Louis Lortie, Piano
Joonas Kokkonen
Piotr Ilyich Tchaikovsky
Sergei Prokofiev
Jean Sibelius
Wednesday Evening, January 26, 2005 at 8:00 Hill Auditorium Ann Arbor
Interludes from The Last Temptations
(All movements played attaca, without pause)
Piano Concerto No. 3 in E-flat Major, Op. 75
Allegro brillante
Mr. Lortie, Piano
Piano Concerto No. 1 in D-flat Major, Op. 10
Allegro brioso Andante assai Allegro scherzando
Mr. Lortie, Piano
Symphony No. 2 in D Major, Op. 43
Tempo andante, ma rubato
Finale, allegro moderato
(Movements 3 and 4 played attaca, without pause)
37th Performance of the 126th Annual Season
126th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank One.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Media partnership for this performance is provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert.
The I,il 11 i Symphony Orchestra appears by arrangement with HarrisonParrott Louis Lortie appears by arrangement with Seldy Cramer Artists.
Large print programs are available upon request.
Interludes from The Last Temptations
Joonas Kokkonen
Born November 13, 1921 in Iisalmi, Finland
Died October 2, 1996 in Jarvenpaa, Finland
Jean Sibelius, the father of Finnish music, did not write any operas. It was left to the genera?tions coming after him to create opera on Finnish subjects and in the Finnish language, which could at the same time hold their own on the international stage.
Joonas Kokkonen's 1975 opera Viitneiset kiusaukset (The Last Temptations) is based on a play the composer's cousin, Lauri Kokkonen, had written in 1959 about the 19th-century itinerant preacher Paavo Ruotsalainen. A com?plex figure, the protagonist is a passionate God-seeker who longs to enter the Gates of Heaven; yet he fails to provide for his wife and son and leaves them for long periods of time with noth?ing to eat, while he goes on his extended evan?gelizing journeys. Spirituality and the harsh realities of life collide head-on in the opera; the story is told in retrospect as Paavo's life flashes before his eyes on his deathbed. The ending, according to a recent study by Canadian scholar Edward Jurkowski, "is left ambiguous: we are never told whether the Gate to Heaven is actually opened for Paavo" when he dies. The title role was written for the leg?endary Finnish bass Martti Talvela, who consid?ered it one of the most challenging bass roles in the operatic repertoire. The opera has been per?formed in many European cities as well as in New York.
In 1977, Kokkonen arranged four excerpts from the opera as an orchestral suite. Only the first of these is an actual interlude (an orches?tral movement connecting two scenes), the other three were originally vocal excerpts, with the singing parts re-assigned to orchestral instruments.
The opening movement transports us in a flashback from Paavo's sickroom to the country dance where, as a young man, he met his first wife Riitta. In the music, the dying man's anguished state of mind gives way to the recol-
lection of happy moments from the past: both the dynamics and the dissonance level decrease sharply between the two contrasting sections of the interlude.
The dance itself takes place in the second movement; the idyllic country scene includes a dramatic moment when a chorus warns Riitta of the difficult life that awaits her with Paavo.
The third movement is the opera's most vio?lent scene, where a desperate Riitta attempts to kill her husband by throwing an ax at him. The music shows the intensification of their argument right up to the dramatic explosion, followed here immediately by the fourth move?ment. This last is a scene where Riitta, years later, is dying peacefully, having forgiven Paavo for everything. The preacher sings a hymn; the couple's son Juhana, who was murdered three years earlier, reappears in his mother's vision to join in the singing. For Riitta, the Gates of Heaven definitely open at the end of this scene that closes the first of the opera's two acts.
Piano Concerto No. 3 in E-flat Major, Op. 75
Piotr Ilyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
Tchaikovsky's Piano Concerto No. 1 was a hard act to follow, even for Tchaikovsky himself. He wrote three more works for piano and orches?tra Concerto No. 2 and this Concerto No. 3, plus the Concert Fantasia in G Major, and all three show signs of intense struggle with the organization of the musical material. Tchaikovsky is often perceived as an "effusive" Romantic who wore his heart on his sleeve, but that doesn't mean that composition came easily to him. He was constantly plagued by self-doubt, and criti?cism from some of his best friends certainly didn't help the great pianist Nikolai Rubinstein was infuriated by Piano Concerto No. 1, and (in a more tactful way) was equally dismissive of Piano Concerto No. 2, as was Tchaikovsky's favorite student and friend, Sergey Taneyev.
The birth pangs of the Piano Concerto No. 3 were especially difficult. The work started life as a symphony the composer was working on in 1892 but set aside as unsatisfactory. (Out of his sketches, Semyon Bogatyrev in the 1950s assembled what became known as Tchaikovsky's Symphony No. 7.) Thinking that the material might work better as a piano concerto, Tchaikovsky started reworking it in the spring of 1893, with hopes of presenting it to the French pianist Louis Diemer, who had asked him for a composition. He only got as far as the first movement, however. Having completed the opening "Allegro brillante," he decided to leave it as a one-movement work. The rest of the music thus remained incomplete both as a symphony and as a concerto. In 1897, Taneyev published his arrangement of Tchaikovsky's concerto sketches as the Andante and Finale, Op. 79, but it is doubtful whether the composer would have approved. Taneyev was also the soloist at the posthumous premieres of both Op. 75 and 79.
By the end of the 19th century, the symphony and the concerto had evolved into such differ?ent genres that the transfer must have presented some difficulties. In both cases, sonata form was used as the structural basis for the first movement, but in a concerto, room had to be made for virtuoso passages, and in general, the presentation of themes would be expected to receive more emphasis than would their trans?formation and development. Tchaikovsky's "Allegro brillante" is a unique hybrid of sym?phonic and concerto elements. In the exposi?tion, the two are fairly well integrated; the soloist and the orchestra share the job of intro?ducing the three themes, each of which has a different tempo. The opening idea, a broad cantabile (singing) theme is first played by the bassoons and then taken over by the piano. The lyrical second melody is considerably slower than the first, and the dance-like, folksy third idea increases the tempo to allegro molto vivace.
Then comes the development section in which, surprisingly, the piano doesn't play at all. Having chosen to retain the symphonic character of this portion of his movement, Tchaikovsky followed it with an extended and
extremely virtuosic solo cadenza. Soloist and orchestra are then reunited in the recapitulation, in which the slower second theme is expanded and made even more expressive. A vivacissimo (very lively) coda closes the work.
Piano Concerto No. 1 in D-flat Major, Op. 10
Sergei Prokofiev
Born April 27, 1891 in Sontsovka [now Ukraine],
near Ekaterinoslav, Russia Died March 5,1953 in Nikolina Gora, near Moscow
Prokofiev was two years old when Tchaikovsky died; 18 years lie between Tchaikovsky's last piano concerto and Prokofiev's first. Much had changed in Russian music during those eight?een short years, yet a certain stylistic continuity cannot be denied.
The young Prokofiev's attitude toward his Russian predecessors was a highly ambiguous one. On the one hand, he couldn't help but be marked by the Romantic tradition; after all, he had learned and performed Tchaikovsky's Piano Concerto No. 1 as a student. On the other hand, however, he was a rebel by inclination. When he played his own concerto at his gradu?ation concert at the St. Petersburg Conservatory, the aggressive rhythms and highly unusual har?monies caused considerable bewilderment in the audience. Some reviewers wished to see the composer in a straitjacket, though at least one critic prophesied that Prokofiev, then just 20 years old, might become the next great Russian master after Scriabin.
In fact, Prokofiev's iconoclasm could not have been more different from the mysticism of Scriabin (or, for that matter, the hyper-Romanticism of the other great piano star of the day, Rachmaninoff). Yet the rebellion suc?ceeded: Prokofiev won over his stern examiners at the Conservatory and walked away with a first prize, which was nothing less than a grand piano.
Prokofiev cast his 15-minute Piano Concerto No. 1 in three short movements, played without
a break. In this he followed the example of Rimsky-Korsakov's concerto from 1883. But whereas the older composer had based the entire work on a single theme (a folksong), Prokofiev used a recurrent theme as a motto but in between, he managed to include a large number of different musical characters, from the grandiose to the lyrical. He also offered many delightful examples of that supreme musical irony that was to become his specialty. The motto, with its insistent repeated measures, is heard at the beginning, in the middle and at the very end; in his autobiography, Prokofiev referred to these three appearances of the theme, with characteristic humor, as "the three whales". Contrasting with the "whales" are a brilliant virtuoso section and a tongue-in-cheek march in the first movement. Delicate piano flourishes against an ostinato background in a slower tempo are followed by another fast vir?tuoso passage. The return of the "whale" leads into the "Andante assai" where the enfant terrible allows himself a moment of Romantic reverie. Before long, the dreamy melody is completely overgrown with virtuoso embellishments and finally erupts in powerful chord progressions that would not be out of place in a Rachmaninoff concerto. The motion calms down and the finale gets underway with a few dry chords played by the pizzicato (plucked) strings -a rhythmic framework on which Prokofiev soon superimposes the agile main theme of the finale. A martial second theme shared by the first trumpet and the piano is followed by an extended cadenza based on that theme. Then, after a traditional sostenuto section, the tempo gradually picks up again and the music moves inexorably toward the triumphant final appearance of the giant "whale".
Symphony No. 2 in D Major, Op. 43
Jean Sibelius
Born December 8, 1865 in Hameenlinna, Finland
[then under Russian domination] Died September 20, 1957 in Jarvenpaa, Finland
Jean Sibelius was much more than Finland's greatest composer of international reputation. For the Finns, he was and still is a national hero, who expressed what was widely regarded as the essence of the Finnish character in music. In his symphonic poems, Sibelius drew on the rich tradition of the ancient Finnish epic, the Katevala. And in his seven symphonies he developed a style that has come to be seen as profoundly Finnish and Nordic. It was a logical continuation of the late Romantic tradition inherited from Brahms, Grieg, and Tchaikovsky, and at the same time a highly per?sonal idiom to which he held steadfastly in the midst of a musical world filled with an increas?ing multiplicity of new styles.
Each of Sibelius's symphonies has its own personality. Symphony No. 2 is distinguished by a predilection for melodies that sound like folk?songs although Sibelius insisted that he had not used any original folk melodies in the sym?phony. We know, however, that he was interest?ed in the folk music of his country, and in 1892 visited Karelia, the Eastern province of Finland known for the archaic style of its songs. It was perhaps this avowed interest in folksong that prompted commentators to suggest a patriotic, political program for the symphony. None other than the conductor Georg Schne'evoigt, a close friend of Sibelius and one of the most prominent early performers of his music, claimed that the first movement depicted the quiet pastoral life of the Finnish people and in subsequent movements, in turn, the Russian oppressors, the awakening of national resist?ance, and finally the triumph over the foreign rule. These ideas were certainly timely at the turn of the century, when Finland was in fact ruled by the Czar, though Sibelius himself never made any statements on the program.
In the first movement Sibelius "teases" the
listener by introducing his musical material by bits and pieces and taking an unusually long time to establish connections among the vari?ous short motifs introduced. The gaps are filled in only gradually. Eventually, however, the out?lines of a symphonic form become evident and by the end of the movement everything falls into place. In his 1935 book on Sibelius's sym?phonies, Cecil Gray observed:
Whereas in the symphony of Sibelius's pred?ecessors the thematic material is generally introduced in an exposition, taken to pieces, dissected, and analysed in a development section, and put together again in a recapit?ulation, Sibelius in the first movement of Symphony No. 2 inverts the process, intro?ducing thematic fragments in the exposition, building them up into an organic whole in the development section, then dispersing and dissolving the material back into its pri?mary constituents in a brief recapitulation.
The second movement ("Tempo andante, ma rubato") opens in a quite exceptional way: a timpani roll followed by an extended, unac?companied pizzicato (plucked) passage played in turn by the double basses and the cellos. This gives rise to the first melody, marked lugubre (mournful) and played by the bassoons (note the exclusive use of low-pitched instruments). Slowly and hesitatingly, the higher woodwinds and strings enter. Little by little, both the pitch and the volume rise, and the tempo increases to poco allegro, with a climactic point marked by fortissimo chords in the brass. As a total con?trast, a gentle violin melody, played in triple pianissimo and in a new key, starts a new sec?tion. The lugubre theme, its impassioned off?shoots, and the new violin melody, dominate the rest of the movement. The movement ends with a closing motif derived from this last melody, made more resolute by a fuller orches?tration.
The third movement ("Vivacissimo") is a dashing scherzo with a short and languid trio section. The singularity of the trio theme,
played by the first oboe, is that it begins with a single note repeated no less than nine times, yet it is immediately perceived as a melody. The rest of the theme is eminently melodic, with a graceful tag added by the two clarinets. After a recapitulation of the scherzo proper, the trio is heard another time, followed by a masterly transition that leads directly into the tri?umphant "Finale".
The first theme of the "Finale, allegro mod-erato" is simple and pithy; it is played by the strings, with forte dynamics, to a weighty accompaniment by low brass and timpani. The haunting second theme has a four-line structure found in many folksongs, and is played by the woodwinds much softer than the first theme, though eventually rising in volume. After a short development section, the tri?umphant first and the folksong-like second themes both return. Repeated several times with the participation of ever greater orchestral forces, the second theme builds up to a power?ful climax. The first theme is then restated by the full orchestra as a concluding gesture.
Program notes by Peter Laki.
Praised for his intense, dynamic performances; his compelling, innovative interpretations of the standard, contemporary and Nordic repertoires; and the close rapport he establishes with the orchestra musi?cians he leads, Osmo Vanska has been the Music Director of the Lahti Symphony Orchestra since 1988, and is also currently the Minnesota Orchestra's 10th Music Director. He was until July 2002 Chief Conductor of the BBC Scottish Symphony Orchestra in Glasgow.
With the Lahti Symphony Orchestra, Mr. Vanska has received international attention through a worldwide touring program includ?ing London, Birmingham, Tokyo, and New York; the opening of Lahti's 1,250-seat state-of-
the-art, all-wood concert hall the world's only Sibelius Hall; and an ongoing recording pro?gram for BIS Records including the ground?breaking Sibelius Edition. With BIS and Lahti, he has been honoured with many awards, including two Gramophone Awards (1991 and 1996), the Grand Prix du Disque (1993), and the Cannes Classical Award (1997 and 2001). Lahti's BIS catalog is additionally characterized by albums which feature 20th-century com?posers, including Kalevi Aho, Sofia Gubaidulina, Joonas Kokkonen, Uuno Klami, James MacMillan, Tauno Marttinen, and Einojuhani Rautavaara. Mr. Vanska has also recorded various CDs with the BBC Scottish Symphony: the Nielsen series for BIS and ' several CDs for Hyperion, including music by Bruckner and Pizzetti.
Internationally in demand as a guest con?ductor, Mr. Vanska's US orchestra invitations include the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, Boston Symphony, Pittsburgh Symphony, Philadelphia Orchestra, San Francisco Symphony, and the National Symphony Orchestra. In Europe he leads orchestras such as the London
Philharmonic, BBC Symphony, Orchestre de Paris, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus, Bayerischer Rundfunk Symphony, Czech Philharmonic, Vienna Symphony Orchestra, and the Royal Concertgebouw Orchestra; invitations with the Sydney Symphony, Tokyo's Yomiuri Nippon Symphony Orchestra, and the Hong Kong Philharmonic also feature in his cross-continental schedule.
Osmo Vanska began his musical career as a clarinetist, holding the co-principal chair in the Helsinki Philharmonic from 1977 to 1982 and in the Turku Philharmonic from 1971 to 1976. Following conducting studies at the Sibelius Academy (1977-79) with Jorma Panula, he took first prize in the 1982 Besancon International Young Conductor's Competition and three years later began his Lahti affiliation. Mr. Vanska also served as Music Director of the Iceland Symphony Orchestra (1993-96) and theTapiola Sinfonietta (1990-92).
The many honors and distinctions awarded to Osmo Vanska include an honorary doctorate from the University of Glasgow, a privilege given in recognition of his role as Chief Conductor of the BBC Scottish Symphony.
In May 2002 he was honored with a Royal Philharmonic Society Award in recognition of his outstanding contribution to classical music during 2001, and was recently named "Conductor of the Year" for 2005 by Musical America.
This evening's performance marks Maestro Osmo Vanska's UMS debut.
Canadian pianist Louis Lottie has been praised for the fresh per?spective and individuality he brings to a deliberately broad spectrum of the keyboard canon. He studied in Montreal with Yvonne Hubert (a pupil of French pianist Alfred Cortot), in Vienna with the Beethoven specialist, Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher.
In April, Mr. Lortie replaced Martha Argerich with Charles Dutoit and the New York Philhar?monic, and after one of his Philharmonic evening performances he performed a long-scheduled recital at the Metropolitan Museum. He also opened the Bonn Beethoven Festival in September 2003 playing Beethoven's Concerto No. 4 with Kurt Masur conducting and was immediately re-engaged for September 2005. He performs again with Mr. Masur in Paris next season and with the New York Philharmonic in January 2006. Over the next four seasons Mr. Lortie will play and conduct the 27 Mozart Piano Concertos with the Montreal Symphony, culminating in 2006, the 250th anniversary of Mozart's birth. Other upcoming engagements include performances at the London Proms, at Lincoln Center with Osmo Vanska and the Lahti Symphony Orchestra, a return recital in Carnegie Hall, and concerts with the orchestras of Atlanta, Oregon, Toronto, Indianapolis, Minnesota, Munich, Bergen, Deutsches Sinfonie Berlin, Residentie, and Sydney. He begins a LisztWagner series at London's Wigmore Hall, and also performs
Louis Lortie
recitals in Birmingham, Vancouver, Portland, Stanford, Sydney, Dresden, and on tour in Italy.
Born in Montreal, Louis Lortie made his debut with the Montreal Symphony at the age of 13 and the Toronto Symphony three years later. The success of these initial performances led to his historic tour of the People's Republic of China and Japan. In 1984, he won First Prize in the Busoni Competition and was a prize?winner at the Leeds Competition. In 1992 he was named Officer of the Order of Canada, and received both the Order of Quebec and an hon?orary doctorate from Laval University. As his schedule permits, he teaches at Italy's renowned piano institute at Imola. Mr. Lortie has lived in Berlin since 1997 and also has a home in Canada.
This evening's performance marks Louis Lortie's UMS debut.
Established in 1949, the Lahti Symphony Orchestra is one of the most renowned orchestras of the Nordic countries. The Lahti Symphony Orchestra's home con?cert hall is the Sibelius Hall in Lahti, a wooden congress and concert center completed in March 2000 that is considered one of the finest acoustical halls in the world.
The orchestra's ambitious and fresh approach to work is audible and visible. They want to guarantee that all performances create enjoyable experiences for audiences, regardless of whether they are playing a symphony, con?certos, the Beatles, popular music, classical favorites, or modern compositions. The Lahti Symphony Orchestra has the ability to surprise, constantly renewing and broadening the scale of its concert programs. Two examples of these characteristics are the 20th-century premiere of Sibelius's work The Wood-Nymph, performed in 1996, and their jazz-symphony concert in coop?eration with the jazz ensemble Trio Toykeat and the violinist brothers, Jaakko and Pekka Kuusisto, just before Christmas in 2000. The same unconditional ambition and freedom of prejudice in interpretation is presented to lis?teners in the Lahti Symphony Orchestra's over 50 recordings. In addition to Sibelius's works, the complete orchestral works of Joonas Kokkonen, an honorary member of the orches?tra, have been recorded. Other recordings in production include the entire orchestral works of Lahti's composer-in-residence since 1992, Kalevi Aho, as well as works by composers Uuno Klami and Einojuhani Rautavaara.
The Lahti Symphony Orchestra has won international acclaim for its recordings several times. The Sibelius recordings alone have received multiple awards: two Gramophone Awards (1991 and 1996), the Grand Prix du Disque (1993), and two Cannes Classical Awards (1997 and 2001). In February 2001, the prestigious Gramophone Magazine mentioned the Lahti Symphony Orchestra's recording of Sibelius's Symphony No. 6 as the world's all-time best recording of this work.
Under conductor Osmo Vanska, the Lahti Symphony Orchestra has visited England, Germany, France, Belgium, Sweden, Japan, and New York. In 2003 the orchestra appeared at the "Stars of the White Nights" Festival in St. Petersburg, at the BBC Proms in London, and at the Congertgebouw in Amsterdam.
This evening's performance marks the Lahti Symphony Orchestra's UMS debut.
Lahti Symphony Orchestra
Osmo Vanska, Conductor
First Violin
Jaakko Kuusisto, Leader
Elina Vahala, Second Leader
Petri Kaskela
Paivi Poyry
Elise Rainio
Antti Kinnunen
Marja Eichhorn
Arja Kaskela
Johanna Latvala
Krista Jaansola
Anniina Ahlstrdm
Ismo Siren
Anna Petry
Annemarie Astrom
Second Violin
Esa Heikkila, Principal
Seppo Linkola, Co-Principal
Anni-Kaisa Tikkala
Lotta Nykasenoja
Reijo Lehtovaara
Marja Rouvali
Orvokki Kivinen
Anitta Enstrand
Kerim Gribajcevic
Minna Jarvela
Johannes Latvala
Kreetta Hannula
Anna Kreetta Gribajcevic,
Anu Airas, Co-Principal Juhani Pitkapaasi Hannu Parviainen Marjatta Laasonen-Haggkvist Jarmo Raikkonen Riikka Lounamaa Mauri Kuokkanen Arvo Haasma Tuula Fleivik
Ilkka Palli, Principal Sanna Palas, Co-Principal Ilkka Uurtimo Timo Keinonen Hannu Kivila Teet Jarvi Antero Manninen Pauli Heikkinen
Double Bass
Eero Munter, Principal
Timo Ahtinen, Co-Principal
Petri Lehto
Sampo Lassila
Anna Rinta-Rahko
Jyrki Hiilivirta
Outi Viitaniemi, Principal Ilmo Joensivu, Co-Principal Eriko Korhonen
Lasse Junttila, Principal Jukka Hirvikangas, Co-Principal Paula Kitinoja
Tuulia Ylonen, Principal Matti Rouvali, Co-Principal Jyrki Saloranta
Harri Ahmas, Principal Kjell Haggkvist, Co-Principal Ladislau Acs
Pertti Kuusi, Principal Petri Komulainen, Co-Principal Jarkko Peltoniemi I.ii"i Kamsula
Ari Heinonen, Principal Veli-Pekka Niemi, Co-Principal Sami Siikala
Antti Autio, Principal Vesa Lehtinen, Co-Principal Jukka Lehtola
Juha Salmela, Principal
Olli-Pekka Martikainen,
Markku Krohn, Co-Principal Steven Kimball
Leena Saarenpaa, Principal
Teemu Kirjonen, Principal
Robert and Pearson Macek
Audra McDonald
Ted Sperling, Music Director and Piano Mary Ann McSweeney, Bass Gene Lewin, Drums
Program Sunday Afternoon, January 30, 2005 at 4:00
Hill Auditorium Ann Arbor
This afternoon's program will be announced by the artists from the stage.
38th Performance of the 126th Annual Season
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is supported by Robert and Pearson Macek.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Media partnership for this performance is provided by WEMU 89.1 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
Audra McDonald appears by arrangement with IMG Artists, New York, NY. Large print programs are available upon request.
Earning an unprecedented three Tony Awards before the age of 30 and a fourth last season {Carousel, Master Class, Ragtime, and A Raisin in the Sun), singer and actress Audra McDonald is frequently compared to legendary performers such as Judy Garland and Barbra Streisand. But like all great artists, she is a unique force, blending a luscious, classically-trained soprano with an incomparable gift for dramatic truth-telling. In addition to her the?atrical work she is a major concert and record?ing artist who appears regularly on many of the great stages of the world.
Ms. McDonald has sung regularly with all the major American orchestras, including the Boston Symphony Orchestra, the Los Angeles Philharmonic, the New York Philharmonic, the Philadelphia Orchestra, and the San Francisco Symphony, under many of the world's greatest conductors, such as John Adams, Sir Simon Rattle, Esa-Pekka Salonen, and Michael Tilson Thomas. Overseas she is a return visitor to London's BBC Proms, the London Symphony Orchestra, and the Berlin Philharmonic, and recently made her Paris debut at the TMPChatelet.
Specifically, Audra McDonald's live per?formance highlights have included starring as Julie Jordan opposite Hugh Jackman's Billy Bigelow in a sold-out concert performance of Carousel conducted by Leonard Slatkin at Carnegie Hall; an appearance as guest soloist on the 2002 season's Closing Night of the Proms Festival in London (only the second American in the 110-year history of the Proms to participate in Closing Night), broadcast worldwide by the BBC; a New Year's Eve 2002 debut with the Berlin Philharmonic led by Sir Simon Rattle and televised throughout Europe by Euroarts; and a sold-out Carnegie Hall solo debut in November 2002 based on her Nonesuch recording, Happy Songs.
Her film and television work has been well noted with an Emmy nomination for her per?formance in HBO's Mike Nichols production of Wit (opposite Emma Thompson) and strong recognition for her portrayal of Grace Farrell in
the made-for-television Disney production of Annie. An exclusive recording artist for Nonesuch Records, her three solo discs {Way Back to Paradise, How Glory Goes, and Happy Songs) comprising both popular standards and contemporary music theater songs have won a wide audience.
Born into a musical family, Audra McDonald grew up in Fresno, California. She received her classical vocal training at The Juilliard School, graduating in 1993.
This performance marks Audra McDonald's third appearance under UMS auspices. Ms. McDonald made her UMS debut in March 2000 at the Power Center.
Rudrr McDonald
Gene Lewin appears on 20 CDs, with several more soon to be released. His eclectic discography ranges from the modern jazz of Fundementia (a group he co-led with saxophonist composer Andy Parsons) to the electric-violin pop of GrooveLily. Several traditional jazz proj?ects and singer-songwriter efforts round out the list of his recordings.
Among Mr. Lewin's most active projects is GrooveLily, a pop band that features electric violin, keyboards, and drums. GrooveLily tours extensively throughout the United States and Canada, and features Mr. Lewin as composer and singer. He also plays frequently with Andy Parsons in a quartet setting. Their recently released third CD, Flip!, features Ben Monder on guitar and John Patitucci on bass.
In the future, Mr. Lewin plans on continuing to pursue a mix of styles and projects. GrooveLily's hit Holiday show, Striking 12, has opened the band's eyes to the world of theater, which suits them very well. Mr. Lewin will join the writing team for the band's upcoming the?atrical production, Wheelhouse.
Mary Ann McSweeney was bom and raised in Aptos, California. She began playing the piano at age five, studying the violin when she was eight, and took up jazz bass soon thereafter. She was chosen to perform at the Monterey Jazz Festival at age 16 with the All Star Big Band fronted by Thad Jones and Mel Lewis.
She has performed with Dizzy Gillespie, Lee Konitz, Dave Liebman, Howard Alden, Ken Peplowski, Jack Sheldon, Diva, and Maiden Voyage. She also has worked with famous con?ductors such as Leonard Bernstein, John Williams, and Lalo Schifrin. Since moving to New York in 1993, Ms. McSweeney has been busy recording, playing jazz and blues clubs, and performing on Broadway. She has con?tributed eight Harold Arlen arrangements for singeractress Tonia Pinkins' live recording at Joe's Pub, and appears with Lea Delaria throughout the New York Club scene. She is currently playing for the Tony award winning musical Avenue Q.
Ms. McSweeney has also performed at many jazz festivals throughout the world, including the Jazz Kaart in the Baltic States, the Brau Nau festival in Austria, the Festival Lent in Slovenia, and concert halls in France with David Krakouer's Klezmer Madness. Her ensemble, the Mary Ann McSweeney Quintet, was invited to play for the Mary Lou Williams Jazz Festival at the Kennedy Center in Washington DC. Her appearance with Lea Delaria at the Newport Jazz Festival was featured on the PBS special Live at the Newport Jazz Festival.
Mary Ann McSweeney has two CDs on the Sparkyl label, Thoughts of You and Swept Away, featuring her original compositions and arrangements with the Mary Ann McSweeney Quintet. For more information go to
Ted Sperling has been Audra McDonald's music director since 1999; together, they have performed all over the US and in London, both in recital and with major symphony orchestras. Programs in New York include evenings at Jazz at Lincoln Center, Town Hall, Joe's Pub, Carnegie Hall, and Zankel Hall. Mr. Sperling recently directed Ms. McDonald in Michael John LaChiusa's R Shomon at the Williamstown Theatre Festival. As the associate artistic direc?tor at the Prince Music Theater in Philadelphia, Mr. Sperling directed the world premieres of Striking 12 and Charlotte: Life Or Theater; the US premiere of Peter Pan and Wendy by George Stiles and Anthony Drewe; and Lady in the Dark, starring Andrea Marcovicci. Mr. Sperling has been the music director for many Broadway and Off-Broadway shows, including The Full Monty, How to Succeed in Business Without Really Trying, Kiss of the Spider Woman, My Favorite Year, A Man of No Importance, Floyd Collins, Saturn Retums, and A New Brain. Mr. Sperling made his Broadway acting debut as a member of the original cast of Titanic. Current projects include The Light in the Piazza at Lincoln Center Theater and Dirty Rotten Scoundrels on Broadway.
Pfizer Global Research and Development
New York Philharmonic
Lorin Maazel, Music Director
Saturday Evening, February 5, 2005 at 8:00 Hill Auditorium Ann Arbor
Wolfgang Amadeus Mozart Symphony No. 29 in A Major, K. 201186a
Allegro moderato Andante Menuetto Trio Allegro con spirito
Gustav Mahler
Symphony No. 5
PART I Funeral March: With measured step. Strict.
Like a cortege
Stormily. With greatest vehemence PART II Scherzo: Vigorously, not too fast
PART III Adagietto: Very slow
Rondo-Finale: Allegro giocoso. Lively
39th Performance of the 126th Annual Season
126th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to our corporate and individual supporters who made this evening possible.
Media partnership for this performance is provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and Michigan RadioMichigan Television.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert.
Special thanks to Stephen Shipps and the U-M School of Music for their participation in the New York Philharmonic residency.
This concert marks the 14,024th concert of the New York Philharmonic.
Programs of the New York Philharmonic are supported, in part, by public funds from the New York State Council on the Arts, New York City Department of Cultural Affairs, New York State Natural Heritage Trust, and the National Endowment for the Arts.
Steinway is the official piano of the New York Philharmonic.
Recordings of the New York Philharmonic are available on the New York Philharmonic Special Editions label and other major labels, including Deutsche Grammophon, London, New World, RCA, CBSSony, and Teldec.
The New York Philharmonic appears by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Symphony No. 29 in A Major, K. 201186a
Wolfgang Amadeus Mozart
Born January 27, 1756, in Salzburg, Austria
Died December 5, 1791, in Vienna
In the early 1770s, Mozart the child prodigy was transforming himself into the adult prodi?gy we all know and love. The transformation took place within a few short years, stimulated in part by three extended trips to Italy, taken by Mozart and his father between 1771 and 1773, and a 10-week stay in Vienna in the summer of 1773, during which the teenager got to know some of the most recent works by his future friend, Joseph Haydn.
Having returned to his native Salzburg, Mozart took up his duties in the service of Archbishop Hieronymus Colloredo, and he quickly made a name for himself locally as a composer. He had ample opportunity to refine his skills as a writer of symphonies and hear his works performed by the Archbishop's excellent orchestra.
Mozart specialist Stanley Sadie calls the Symphony No. 29 in A Major, K. 201, a "land?mark," and it is hard to disagree with his assess?ment. In this work Mozart filled the established conventions of symphonic writing with individ?ual strokes of genius to a quite unprecedented degree. The melodic material is more sharply profiled than before, the thematic development more complex. Mozart's overflowing musical imagination requires substantial codas, that is, special extensions, in the first, second, and fourth movements; such "tailpieces" are rela?tively rare in symphonies of the time.
An unusual feature occurs right at the beginning: instead of a fanfare or other loud and energetic opening statement, we hear a descending octave leap played softly by the first violins. This octave leap is the seed from which the entire movement grows; it is elaborated contrapuntally, repeated in forte dynamics, and modified in many other ways. Its assertive, somewhat angular character contrasts with the more "rounded" secondary theme and a light and playful closing idea.
In the second-movement "Andante," the vio?lins use their mutes throughout, except at the very end (another infrequent occurrence in classical symphonies). It is another sonata form, with a second theme (a particularly love?ly, lyrical idea), a development section (with some harmonic and rhythmic excitement), and a recapitulation.
The third-movement "Menuetto" is based on an idea in dotted rhythms that is possibly an allusion to French style; some of the harmonic progressions are reminiscent of Baroque music. The most surprising element is the repeated-note fanfare, played by the two oboes and two horns while the strings are silent at the end of the minuet's first phrase. Then the strings answer by playing the same repeated-note idea a note higher. The melody of the "Trio," or middle section, is scored for strings only, with the wind instruments merely supplying long-held pedal notes.
The finale begins with the same descending octave we heard in the first movement, but instead of rising step by step in pitch, the melody now shoots up like a rocket, initiating a movement in which even the lyrical second idea sustains a high level of energy. The devel?opment section, with its distant modulations and sophisticated counterpoint, is one of the most complex Mozart had written to date. An unaccompanied, rapidly ascending sixteenth-note scale ushers in the recapitulation, and reappears in the coda before two powerful chords bring the symphony to an end.
Symphony No. 5
Gustav Mahler
Born July 7, I860 in Kalischt, Bohemia
[now Kaliite, Czech Republic] Died May 18, 1911 in Vienna
Gustav Mahler had his first brush with death on February 24, 1901. After conducting a con?cert with the Vienna Philharmonic in the after?noon and an opera (Mozart's Magic Flute, in its 100th anniversary performance) in the evening
he suffered a massive intestinal hemorrhage that necessitated surgical intervention on March 4. The 40-year-old Mahler felt that his last hour had arrived. Although the danger soon passed and Mahler recovered at a remark?able speed, the crisis had a lasting impact on his entire outlook on life and death.
During his convalescence, Mahler worked on the revision of his Symphony No. 4, and immersed himself in the study of J.S. Bach's works. By the summer, he was in excellent health, and well ensconced in his newly-built summer home at Maiernigg. It turned out to be one of the most productive summers in Mahler's life. He was working on Kindertotenlieder (Songs on the Deaths of Children) with words by the early-19th century poet Friedrich Ruckert, several additional Riickert songs, as well as the last of his settings from Des Knaben Wunderhorn (The Youth's Magic Horn). In addition, he completed the first two movements of the Symphony No. 5 during the same summer.
Although this burst of compositional activi?ty is, in and of itself, a sign of great vigor and vitality, there can be no doubt that the main theme of Mahler's 1901 output was death. Kindertotenlieder is about the deaths of chil?dren, the Wunderhorn song "Der Tamboursg'sell" (The Drummer Boy) portrays a young man on his way to the gallows, and the Ruckert song "Ich bin der Welt abhanden gekommen" (I am lost to the world) is a farewell to life. The opening movement of Symphony No. 5 is a funeral march, whose main theme is closely related to that of "Der Tamboursg'sell". The second movement is a passionate expression of violent pain that incorporates a second funeral march and (after a brief moment of sudden euphoria) sinks back into deep despair.
The first two movements were essentially ready and the "Scherzo" at least sketched when Mahler left Maiernigg to reassume his duties as director of the Vienna Opera at the beginning of the autumn. The new season got off to a stormy start, with intrigues at the Opera and disastrously received performances of
Symphony No. 4 in several German cities. In November 1901, however, an event took place that changed Mahler's life forever: he met and fell in love with a 22-year-old girl named Alma Schindler. Before the year was out they were engaged, and they got married on March 9, 1902. At the end of the season, Mahler returned to Maiernigg with his young bride to continue work on Symphony No. 5. The movements completed that summer include a gigantic waltz-fantasy titled "Scherzo," the intensely lyrical "Adagietto," and an exuberant "Rondo-Finale".
Thus, the passage from death to life, bodily experienced by Mahler in 1901, found direct expression in the symphony. While the general "darkness-to-light" tendency follows an earlier tradition (most notably, Beethoven's Symphony No. 5, to which Mahler makes several allusions in this work), the contrasts are sharper and the extremes of joy and pain greater than ever before. In order to maximize those contrasts and extremes, Mahler abandons traditional tonal unity: the symphony begins in c-sharp minor and ends in D Major, a half-step rise symbolic of the spiritual journey completed by the music.
There is some reason to believe that Alma's appearance in Mahler's had a decisive influence on the way the symphony evolved. In 1901, Mahler had told her confidante, Natalie Bauer-Lechner, that Symphony No. 5 would be "a proper symphony with four movements, each complete in itself, all connected only by their similar moods". The "Adagietto," then, seems to have entered his thoughts only after he had met Alma Schindler.
In its final form, the five movements of the symphony are divided into three parts. The first part includes movements one and two, the sec?ond part comprises movement three, and the third part is made up of the last two move?ments. Thus, the overall form may be under?stood as two slowfast movement pairs framing a central scherzo.
(Funeral March: With measured step. Strict.
Like a cortege c-sharp minor)
March rhythms are heard with some fre?quency in Mahler's symphonies, perhaps due to the impact of the music of the local military barracks in Iglau (now Jihlava) where he grew up. While the march often takes on a tragic or funereal character in Mahler, of no movement is this more true than the first of Symphony No. 5. After a dramatic introduction started by the first trumpet, the main theme (as mentioned, similar to that of "Der Tamboursg'sell" [Drummer Boy]) is played by the violins. The music soon becomes plotzlich schneller, leiden-schaftlich, wild (suddenly faster, passionate, wild) and there is a violent outburst of emo?tion, with the violins playing "as vehemently as possible". The "drummer boy" theme retums, followed by a second, doleful episode in the same slower tempo. Recalls of the initial trum?pet fanfare played first by the trumpet and then by the first flute close the movement.
(Stormily, with greatest vehemence a minor)
The connection between the first and second movements is made evident by many thematic links. The trumpet fanfare that opened the symphony is especially prominent in the second movement, and a close relative of the "drum?mer-boy" melody appears as a contrasting theme, marked "in the tempo of the funeral march". But the movement has a majn motif of its own that recurs several times; its brevity and simplicity make it sound equally fanfare-like (as the trumpet-call in the first movement), though it is played by the strings. In his fascinating analysis of the symphony, David B. Greene calls this theme the "anger" motif, and describes how expressions of anger alternate with "peace-questing sections," which contain many of the moments shared with the first movement. Near the end of the movement, there is a striking, brass-dominated pesante (weighty) section that for the first time introduces the bright key of D major in which the symphony will end an
anticipation of the victory that is to come three movements later. For now, however, the preva?lent mood is one of pain and grief as the move?ment ends softly and on an unmistakably tragic note. Mahler indicated in the score that a long pause must follow this movement.
(Scherzo: Vigorously, not too fastD Major)
Indeed, the third movement is as different from the preceding music as can be. In it, Mahler glorifies what is (after the march) the other central musical type in his symphonies: the Landler, an Austrian folk dance that had played an important role in Austrian classical music since Haydn's time. But Mahler's use of the Landler is unlike anybody else's. He throws himself into the whirl of 34 time with great abandon. The various motifs that unfold before our ears bring about subtle changes from the original Landler, reminiscent of the Austrian countryside, to its more sophisticated urban cousin, the waltz. The outlines of a traditional scherzo form may be readily discerned; howev?er, there are extended development sections and other irregularities that don't fit in with either the scherzo form or the landler rhythm. The various sections are linked by many subtle motivic connections. The variety in orchestra?tion techniques is astonishing (note in particu?lar the use of the solo horn throughout the movement, and the pizzicato (plucked) strings in the recapitulation of the trio section). The musical textures used range from the simple "oom-pah-pah" of the waltz to complex fugal procedures. As Henry-Louis de La Grange remarked in his monumental Mahler biogra?phy: "Mahler never revealed more fully his tal?ents as a builder of musical structures and the inexhaustible richness of his invention. He was never surer of himself and his art. This move?ment represents a unique movement of equilib?rium and optimism in his output".
(Adagietto: Very Slow F Major)
One of the most popular pieces Mahler ever wrote, the "Adagietto" is frequently performed separately from the rest of the symphony. It was also featured in Luchino Visconti's 1971 film Death in Venice, in which Thomas Mann's origi?nal character, the writer Gustav Aschenbach, was transformed into a composer who bore an all-too-clear resemblance to Mahler.
The "Adagietto" is scored for strings and harp only. Its enchanting melody must be played seelenvoll (soulfully), according to the instructions in the score. It closely resembles the song "Ich bin der Welt abhanden gekom-men," mentioned above. The famous Dutch conductor Willem Mengelberg, who was a close associate of Mahler's, said that this movement was Mahler's declaration of love for Alma, and asserted he had been told so by both Gustav and Alma Mahler. The movement contains a prominent quote from Wagner's Prelude to Tristan and Isolde, which is surely no accident. The quote confirms that the inner connection between love and death, central to Wagner's opera, must have been also on Mahler's mind, both in the song and in the symphony.
(Rondo-Finale: Allegro giocoso. Lively D Major)
The final movement follows the "Adagietto" without pause. Like the first-movement funeral march, the finale recalls a song written on a Wunderhorn text. Only this time it is a humor?ous piece, originally called "Lob des hohen Verstandes" (The Praise of High Intellect) in which a cuckoo and a nightingale have a singing contest, decided by a donkey in the cuckoo's favor.
The descending second half of this theme becomes the starting point for elaborate contra?puntal developments. (The intensive study of Bach's works in the spring of 1901 was not for nothing!) This theme keeps changing its form, while one of the rondo's episodes, derived from the "Adagietto," remains more or less the same every time it recurs, providing moments of rest
amidst the hectic contrapuntal activity. Shortly before the conclusion, a homophonic, chorale-like melody appears to increase the festive mood in which the symphony ends.
Program notes by Peter Laki.
Please turn to page 29 for complete biographical information and an orchestral roster for the New York Philharmonic.
Pfizer Global Research and Development
New York Philharmonic
Lorin Maazel, Music Director
Sunday Afternoon, February 6, 2005 at 4:00 Hill Auditorium Ann Arbor
Antonin Dvorak
Symphony No. 9 in e minor. Op. 95
Adagio Allegro molto Largo
Molto vivace Allegro con fuoco
Bela Bartdk
Concerto for Orchestra, BB 123, Sz. 116
Introduction: Andante non troppo Allegro vivace Game of Couples: Allegro scherzando Elegy: Andante non troppo Interrupted Intermezzo: Allegro Finale: Pesante Presto
40th Performance of the 126th Annual Season
126th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to our corporate and individual supporters who made this afternoon possible.
Media partnership for this performance is provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and Michigan RadioMichigan Television.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert.
Special thanks to Stephen Shipps and the U-M School of Music for their participation in the New York Philharmonic residency.
This concert marks the 14,025th concert of the New York Philharmonic.
Programs of the New York Philharmonic are supported, in part, by public funds from the New York State Council on the Arts, New York City Department of Cultural Affairs, New York State Natural Heritage Trust, and the National Endowment for the Arts.
Steinway is the official piano of the New York Philharmonic.
Recordings of the New York Philharmonic are available on the New York Philharmonic Special Editions label and other major labels, including Deutsche Grammophon, London, New World, RCA, CBSSony, and Teldec.
The New York Philharmonic appears by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Symphony No. 9 in e minor. Op. 95
Antonin Dvorak
Born September 8, 1941, in Miihlhausen, Bohemia
Died May 1, 1904, in Prague
The credit for bringing Dvorak to the United States belongs to Jeanette M. Thurber (1850-1946), wife of a wealthy New York businessman. Mrs. Thurber was one of those dedicated phi?lanthropists to whom the musical life of this country has always owed so much. In 1885-86, she founded both the National Conservatory of Music and the American Opera Company. One of her greatest achievements was a scholarship program for minority students, which enabled many Blacks and Native Americans to become professional musicians. Another was to per?suade Antonin Dvorak to come to the US from his native Bohemia and become the director of the Conservatory.
After a long round of negotations, Dvorak arrived in the US in 1892, for what would be a stay of three years. He was accompanied by his wife, two of his six children, and a secretary. His duties at the Conservatory were not very onerous. He had to teach composition three mornings a week and conduct the student orchestra on two afternoons. This schedule left him enough time for conducting at public concerts as well as composing.
Mrs. Thurber later claimed it was at her sug?gestion that Dvorak first started to work on his Symphony No. 9 in e minor. As she recollected,
He used to be particularly homesick on steamer days when he read the shipping news in the Herald. Thoughts of home often moved him to tears. On one of these days I suggested that he write a symphony embodying his experiences and feelings in America a suggestion which he promptly adopted.
This prompting would hardly have sufficed, had Dvorak himself not felt ready to "embark" on a new symphony. But embark he did, and when the score was finished the next spring, he
made the following inscription on the last page of the manuscript: "Praise God! Completed 24th May 1893 at 9 o'clock in the morning. The children have arrived at Southampton (a cable came at 1:33 p.m.)". The four children Dvorak had left behind joined their parents in New York a few days later. Thus, both the beginning and the end of this composition seem to be connected with ships leaving and arriving.
Much ink has been spilled over the question as to whether Symphony No. 9 incorporates any melodies Dvorak heard in the US, and whether the symphony is "American" or "Czech" in char?acter. Dvorak's interest in both Negro spirituals and American Indian music was evident, but he actually knew very little about the latter and, as far as the former was concerned, relied mainly on a single source of information. Harry T. Burleigh, an African-American student at the Conservatory, who later became a noted com?poser and singer, performed many spirituals (and also Stephen Foster songs) for Dvofdk, who was very impressed. Despite this, Dvorak's knowledge of American musical traditions must have remained limited. The composer did not claim to have used any original melodies, trying instead to "reproduce their spirit," as he put it in an interview published three days before the symphony's premiere.
We will understand what Dvorak meant by this if we compare the famous english horn solo from the symphony's slow movement with the spiritual "Steal Away," which was probably among the songs Dvorak had heard from Burleigh. Many years later, H.C. Colles asked Burleigh to sing to him the songs he had sung to Dvorak, and noted that "the sound of the english horn resembled quite closely the quality of Burleigh's voice". Both melodies share the same rhythmic patterns and the same penta-tonic scale. It is no wonder that Dvorak's melody was subsequently adopted as a spiritual in its own right under the title "Goin' Home," with words by one of Dvorak's New York stu?dents, William Arms Fisher. Several other melodies in the symphony have similar songlike shapes, suggesting folk inspiration. One instance where a possible model has been identified is
the first movement's second theme, which is strongly reminiscent of the spiritual "Swing Low, Sweet Chariot".
Another link between the "New World" Symphony and the New World has to do with an aborted opera project based on "The Song of Hiawatha". It was another one of Mrs. Thurber's suggestions that Dvorak write an opera on Longfellow's poem, with which he had long been familiar, having read it in Czech transla?tion 30 years before. The opera never quite got off the ground, but it has recently been shown that the slow movement was conceived with Minnehaha's Forest Funeral from Hiawatha in mind. Additionally, the Scherzo was inspired by the dance of Pau-Puk-Keewis.
Discussions of the ethnic background of Dvorak's themes should not, however, divert the attention from other aspects of this sym?phony that are at least equally compelling. For beautiful melodies alone, whatever their prove?nance may be, do not a symphony make. In Symphony No. 9, Dvorak proved not only his supreme melodic gifts, but also his mastery in organizing his melodies into coherent and well-balanced musical structures.
The opening horn theme of the first move?ment "Allegro molto," already hinted at by the preceding slow introduction, serves as a unifying gesture that retums in each of the symphony's movements. In the second movement "Largo," it appears at the climactic point in the faster middle section, shortly before the return of the english horn solo. In the third movement, it is heard between the Scherzo proper and the Trio; this time, the energetic brass theme is trans?formed into a lyrical melody played by the cellos and the violas. Between the Trio and the recapitulation of the Scherzo, the theme resumes its original character. The same melody can also be found in the finale shortly before the end, in a coda that incorporates quotations from the second and third movements as well. The ending of the symphony, then, combines the main themes from all four movements in a magnificent synthesis.
Concerto for Orchestra, BB 123, Sz. 116
Bela Bartok
Born March 25, 1881, in Magyszentmiklos,
Hungary Died September 26, 1945, in New York
Bart6k was 59 years old when he immigrated to the United States with his second wife and for?mer pupil, Ditta Pasztory. His adjustment to the new environment was made difficult, even traumatic, by several factors. Bart6k, who had been the foremost musical celebrity in his native Hungary, became one of many emigre composers and had to start a new struggle to re-launch his career.
Bart6k was ill-equipped for such a struggle. He was not prepared to make any compromises and was not interested in teaching composition. He gave some piano recitals and appeared in a two-piano duo with his wife; he also performed his Piano Concerto No. 2 with the Cleveland Orchestra and the Chicago and Pittsburgh Symphonies. Yet his main ambition throughout his American years was to continue his research in ethnomusicology. He received a grant from Columbia University to work on Milman Parry's recordings from Yugoslavia, but the grant ran out before he could finish the project. It was also at this time that Bart6k's health first began to deteriorate the first signs of the leukemia that would claim his life in 1945.
The situation was grave indeed when Bartok, lying in a New York hospital, received an unexpected visit from Serge Koussevitzky, the legendary conductor of the Boston Symphony. Koussevitzky commissioned a new orchestral work in memory of his wife and left a check for half the amount of the commission on the composer's bedside table. (He and every?body else took great pains to conceal from Bart6k the fact that the idea of the commission had come from two of the composer's Hungarian friends, violinist Joseph Szigeti and conductor Fritz Reiner. Had Bartok known this, the com?mission would have seemed to him a form of charity that he might even have turned down.)
The commission quite literally gave Bart6k,
who had composed virtually nothing for the last two years, a new lease on life. Work on the score proceeded rapidly, thanks in part to the American Society of Composers, Authors, and Publishers (ASCAP), which arranged for Bart6k to spend the summer months of 1943 at a pri?vate sanatorium in Lake Saranac, New York. Bartok's health improved, he gained some weight (going from 87 pounds to 105), and the full score of the Concerto for Orchestra was completed by October 8. Bart6k wrote an "Explanation" for the first performance, in which he stated:
The title of this symphony-like instru?mental work is explained by its tendency to treat the single instrument groups in a "concertante" or soloistic manner. The "vir?tuoso" treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the "perpetuum mobile"-like passages of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments appear consecutively with brilliant passages.
As for the structure of the work, the first and fifth movements are written in a more or less regular sonata form.... Less traditional forms are found in the second and third movements. The main part of the second movement consists of a chain of independ?ent short sections, by wind instruments consecutively introduced in five pairs (bas?soons, oboes, clarinets, flutes, and muted trumpets).... A kind of "trio" a short chorale for brass instruments and side drum follows, after which the five sections are recapitulated in a more elaborate instru?mentation.
The structure of the third movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motives. Most of the thematic material of this movement derives from the "Introduction" to the first move?ment. The form of the fourth movement -
"Intermezzo interrotto" could be rendered by the letter symbols "A B A -interruption B A."
The general mood of the work represents apart from the jesting second movement a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one.
The movement that has generated the most commentary is, without a doubt, the fourth, the "Interrupted Intermezzo". Bart6k told his pupil, the pianist Gyorgy Sandor, a little story he had associated with this piece. A young man sere?nades his sweetheart but is surprised by a gang of drunkards who smash his instrument. Despite the pain he feels, he continues his serenade.
There are some clues in the movement, however, that reveal a meaning running much deeper than the story would suggest. The beau?tiful cantabile melody (which Bart6k labeled by the letter B) seems to be a rhythmically modi?fied version of a Hungarian operetta melody: "Hungary,you are beautiful..."-which in turn has been taken as an expression of Bart6k's feelings of homesickness. And since the year was 1943, one can't help but interpret the dis?ruption of a peaceful idyll as an allusion to the war. In that disruption, Bartok was famously parodying a passage from Shostakovich's Symphony No. 7 (also known as the "Leningrad" symphony), which had recently created a major sensation in the US. In his memoir My Father, Bartok's son Peter recalls how they listened to Shostakovich's symphony on the radio and how Bartdk objected to the seemingly interminable repeats of the same theme. (Bart6k himself had told the conductor Antal Dorati about this, who commented on it in his autobiography Notes of Seven Decades.) The similarity of this theme to the song "Da geh ich zu Maxim" from Franz Lehar's operetta The Merry Widow does not seem to have been intended by either Bart6k or Shostakovich. (It should be noted that the Shostakovich melody, variously referred to as the theme of war of fascism, had its own sarcas?tic overtones, so that Bart6k, probably unwitting-
ly, was parodying a parody. In the "Leningrad" Symphony, the function of this theme was the same as in Bart6k's Concerto: to disrupt peace?ful life with a brutal attack on the innocent.)
The Concerto for Orchestra marks what could have become a new beginning in Bart6k's oeuvre. The composer had simplified his lan?guage and embraced a more traditional harmon?ic idiom without in any way diluting his highly personal style. The influence of folksong is just as evident as in the earlier works, especially at the opening and in the third movement, where Bartok alludes to a specific type of rubato per?formance that is usually associated with lyrics expressing sadness and nostalgia. But this folk-based melodic style is fused with a deep com?mitment to classical forms such as the sonata and fugue. Bartok achieved a new synthesis that had great potential for the future; yet tragically, he did not live to realize that potential. As he said shortly before his death, "I'm leaving with a full suitcase" with a lot of masterpieces that would never see the light of day.
Program notes by Peter Laki.
Lorin Maazel, who has led more than 150 orchestras in more than 5,000 opera and concert performances, became Music Director of the New York Philharmonic in September 2002. His appointment came 60 years after his debut with the Orchestra at Lewisohn Stadium, then the Orchestra's summer venue. In the course of his first two seasons as the Philharmonic's Music Director, he conducted four world pre?miere New York Philharmonic commissions; the complete Beethoven symphonies and piano concertos over a three-week period as part of The Philharmonic Festival: The Beethoven Experience; and two free Memorial Day Concerts at the Cathedral Church of St. John the Divine. He also celebrated the Orchestra's 160th birthday with a special concert, and led the musicians on tours to Asia, three southern US states, and in residencies in Cagliari,
Sardinia, and the Bravo! Vail Valley Music Festival in Colorado.
Prior to his tenure as Music Director, Mr. Maazel conducted more than 100 performances of the New York Philharmonic as a guest con?ductor. He served as music director of the Bavarian Radio Orchestra (1993 until summer 2002), and has held positions as music director of the Pittsburgh Symphony (1988-96); general manager and chief conductor of the Vienna Staatsoper (1982-84) the first American to hold that position; music director of The Cleveland Orchestra (1972-82); and artistic director and chief conductor of the Deutsche Oper Berlin (1965-71). In May 2004 Mr. Maazel accepted the post of music director of the Filarmonica Arturo Toscanini in Parma, an orchestra founded in 2001 comprising many leading young professional players from within Italy and elsewhere in Europe. He was named honorary member of the Israel Philharmonic in 1985 when he conducted its 40th anniversary concert. He is also an honorary member of the Vienna Philharmonic, and is the recipient of the Hans von Biilow Silver Medal from the Berlin Philharmonic.
A second-generation American, born in 1930 in Paris, Mr. Maazel was raised and edu-
cated in the US. He took his first violin lesson at age five, and conducting lesson at seven. He studied with Vladimir Bakaleinikoff and appeared publicly for the first time at age eight, conducting a university orchestra. In 1939, at age nine, he made his New York debut at the New York World's Fair, conducting the Interlochen Orchestra. That same year he con?ducted the Los Angeles Philharmonic in the Hollywood Bowl, sharing a program with Leopold Stokowski. He was invited by Arturo Toscanini to conduct the NBC Symphony in 1941 at age 11.
Between ages nine and 15, he conducted most of the major American orchestras. While a student at the University of Pittsburgh, he was a violinist with the Pittsburgh Symphony, served as apprentice conductor during the 1949-50 season, and organized the Fine Arts Quartet of Pittsburgh. In 1951, at age 21, he studied Baroque music in Italy on a Fulbright Fellowship, and two years later made his European conducting debut. He quickly estab?lished himself as a major artist, appearing at Bayreuth in 1960 (the first American to do so), with the Boston Symphony Orchestra in 1961, and in Salzburg in 1963.
Mr. Maazel has conducted throughout Europe, Australia, North and South America, Japan, and the former Soviet Union at most international festivals and opera houses, includ?ing Salzburg, Edinburgh, and Lucerne, the Metropolitan Opera, La Scala, Paris Opera, and Covent Garden. He has appeared with all the major symphony orchestras of the world.
As a recording artist, Lorin Maazel has some 300 recordings to his name. These include the symphonic cycles of Beethoven and Brahms with The Cleveland Orchestra; Mahler and Tchaikovsky with the Vienna Philharmonic; Sibelius with the Pittsburgh Symphony; and Rachmaninoff with the Berlin Philharmonic. He is the recipient of 10 Grand Prix du Disque Awards.
Mr. Maazel is also an accomplished compos?er. His opera, 1984, will receive its world pre?miere May 3, 2005 at London's Royal Opera House, Covent Garden and on March 1, 2005,
five of his compositions will be performed by the New York Philharmonic in celebration of his 75th birthday.
Among Mr. Maazel's honors, decorations, and awards are the Commander's Cross of Merit of the Federal Republic of Germany, the Legion of Honor of France, and the Commander of the Lion of Finland. He also has been award?ed the title of Ambassador of Good Will by the United Nations.
These performances mark Lorin Maazel's fifth and sixth appearances under UMS auspices. Maestro Maazel made his UMS debut leading the Gershwin Concert Orchestra and Soloists in March 1953 in Hill Auditorium.
The New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Founded in 1842 by a group of local musicians led by American-born Ureli Corelli Hill, the Philharmonic currently plays some 180 concerts a year. In December 2004, the Philharmonic gave its 14,000th concert a milestone unmatched by any other orchestra in the world.
Lorin Maazel began his tenure as Music Director in September 2002. He succeeded Kurt Masur, who was Music Director from 1991 until the summer of 2002, and who was named Music Director Emeritus on June 1, 2002. Previous Music Directors have included Zubin Mehta (1978-91) and Pierre Boulez (1971-77). Leonard Bernstein, who was appointed Music Director in 1958, was given the lifetime title of Laureate Conductor in 1969.
Since its inception, the Philharmonic has championed the new music of its time, giving the first performances of many important works such as Dvorak's Symphony No. 9, Rachmaninoff's Piano Concerto No. 3, Gershwin's Concerto in F, and Copland's Connotations, in addition to the US premieres of works such as Beethoven's Symphonies Nos. 8 and 9, and Brahms's Symphony No. 4. This pio-
neering tradition has continued to the present day, with works of major contemporary com?posers regularly scheduled each season. John Adams' On the Transmigration of Souls, written in memory of September 11, 2001, received the 2003 Pulitzer Prize for Music; a CD of the work, performed in concert by the Orchestra in 2002, was released on Nonesuch in August 2004.
The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Piotr Tchaikovsky, Antonin Dvorak, Gustav Mahler (Music Director, 1909-11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, 1922-30), Wilhelm Furtwangler, Arturo Toscanini (Music Director, 1928-36), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, 1947-49), Dimitri Mitropoulos (Music Director, 1949-58), Klaus Tennstedt, George Szell (Music Advisor, 1969-70), and Erich Leinsdorf.
The Philharmonic's remarkable achieve?ments in radio, television, and other media have helped shape communications history. In 1922 the Philharmonic became one of the first orchestras to broadcast a live concert, and its coast-to-coast radio broadcast of 1930 was the first of its kind. Television and the Internet have further expanded the Philharmonic's audiences. For more than 20 years, the Orchestra regularly telecast its legendary Young People's Concerts, most of them led by Leonard Bernstein; and, since 1976, the frequent annual appearances of the Philharmonic on PBS's Emmy Award-win?ning Live From Lincoln Center have made it one of the most "watched" orchestras in the world. In 1999 the Philharmonic launched the hugely popular Kidzone, an interactive website for children and educators alike, and in 2002, a unique initiative in the orchestra world began the streaming of live radio broadcasts for a period of two weeks following the performance, bringing the philharmonic to a worldwide audience through its website,
Since 1917, the Philharmonic has recorded nearly 2,000 albums; more than 500 recordings
are currently available. In February 2003, the Orchestra was honored by The Recording Academy with a Trustees Award in recognition of its outstanding contributions to the industry and American culture. Members of the Philharmonic also performed on the 45th-annual Grammy Awards ceremony, televised internationally from New York's Madison Square Garden the first time that a major symphony orchestra has performed live on the Grammy Awards.
These performances mark the New York Philharmonic's 13th and 14th appearances under UMS auspices. The Philharmonic made its UMS debut in March 1916 under the baton of Josef Stransky. The Philharmonic most recently appeared in Hill Auditorium in September 1972 under the direction of Pierre Boulez.
New York Philharmonic
Lorin Maazel, Music Director
Xian Zhang, Assistant Conductor
Leonard Bernstein, Laureate Conductor, 1943-1990
Kurt Masur, Music Director Emeritus
Glenn Dicterow
The Charles E. Culpeper Chair Sheryl Staples
Principal Associate
The Elizabeth G. Beinecke Chair Michelle Kim
Assistant Concertmaster
The William Petschek Family Chair Enrico Di Cecco Carol Webb Yoko Takebe
Emanuel Boder Kenneth Gordon Hae-Young Ham Lisa GiHae Kim Newton Mansfield Kerry McDermott Anna Rabinova Charles Rex Fiona Simon Sharon Yamada Elizabeth Zeltser Yulia Ziskel
Marc Ginsberg
Principal Lisa Kim
In Memory of Laura Mitchell Soohyun Kwon Duoming Ba
Matitiahu Braun Marilyn Dubow Martin Eshelman Judith Ginsberg Myung-Hi Kim Hanna Lachert+ Kuan-Cheng Lu Sarah O'Boyle Daniel Reed Mark Schmoockler Vladimir Tsypin
Viola Cynthia Phelps
The Mr. and Mrs.
Frederick P. Rose Chair Rebecca Young Irene Breslaw'
The Norma and Lloyd Chazen Chair Dorian Rence
Katherine Greene Dawn Hannay Vivek Kamath Peter Kenote Barry Lehr Kenneth Mirkin Judith Nelson Robert Rinehart
Cello Carter Brey
The Fan Fox and
Leslie R. Samuels Chair Hai-Ye Ni Qiang Tu
The Shirley and Jon Brodsky
Foundation Chair Evangeline Benedetti
Eric Bartlett Nancy Donaruma Elizabeth Dyson Valentin Hirsu Maria Kitsopoulos Eileen Moon Brinton Smith
Eugene Levinson
The Redfield D. Beckwith Chair Jon Deak Orin O'Brien
William Blossom Randall Butler David J. Grossman Lew Norton Satoshi Okamoto Michele Saxon
Robert Langevin
The Liln Acheson Wallace Chair Sandra Church Renee Siebert Mindy Kaufman
Mindy Kaufman
Joseph Robinson
The Alice Tully Chair Sherry Sylar Robert Botti
English Horn Thomas Stacy
Clarinet Stanley Drucker
The Edna and W. Van Alan Clark Chair Mark Nuccio Pascual Martinez Forteza Stephen Freeman
E-Flat Clarinet Mark Nuccio
Bass Clarinet Stephen Freeman
Bassoon Judith LeClair
The Pels Family Chair Kim Laskowski Leonard Hindell Arlen Fast
Arlen Fast
Horn Philip Myers
The Ruth F. and Alan J. Broder Chair Jerome Ashby L. William Kuyper R. Allen Spanjer Erik Ralske Howard Wall
Trumpet Philip Smith
Tile Paula Levin Chair Thomas V. Smith
Acting Associate Principal Vincent Penzarella
Trombone Joseph Alessi
Tlie Gurnee F. and
Marjorie L. Hart Chair James Markey David Finlayson
Bass Trombone Donald Harwood
Tuba Alan Baer Principal
Timpani Joseph Pereira
Acting Principal
The Carlos Moseley Chair
Percussion Christopher S. Lamb
The Constance R. Hoguet Friends of
the Philharmonic Chair Daniel Druckman Joseph Pereira
Nancy Allen Principal The Mr. and Mrs.
William T. Knight III Chair
Keyboard Instruments In Memory of Paul Jacobs
Harpsichord Lionel Party
Piano Karen and
Richard S. LeFrak Chair Harriet Wingreen Jonathan Feldman
Organ Kent Tritle
Librarians Lawrence Tarlow
Principal Sandra Pearson Thad Marciniak
Orchestra Personnel Manager Carl R. Schiebler
Stage Representative Louis I. Patalano
Audio Director Lawrence Rock
'Associate Principal "'Assistant Principal +On Leave ++ReplacementExtra
The New York Philharmonic uses the revolving seating method for section string players who are listed alphabeti?cally in the roster.
New York Philharmonic
Paul B. Guenthcr, Chairman
Zarin Mehta, President and Executive Director
Bill Thomas, General Manager
Eric Latzky, Director of Public Relations
Miki Takcbe, Director of Operations
Brendan Timins, Operations Coordinator
Katheryn Tucker, Artistic Administratiw Assistant
Ann and Clayton Wilhite
Netherlands Wind Ensemble
Bart Schneemann, Narrator
Thursday Evening, February 10, 2005 at 8:00 Rackham Auditorium Ann Arbor
Letters from Mozart
A Theatrical Setting of Wolfgang Amadeus Mozart's Serenade No. 10 in B-flat Major, K. 361, ("Gran Partita")
Largo Allegro molto
Recitation: Letters from Mozart to his Father
Menuetto Trio I-II
Recitation: Letters from Mozart to his Father
Recitation: Letters from Mozart to his Father
Menuetto (Allegretto) Trio I-II
Recitation: Letters from Mozart to his Father
Romanze (Adagio Allegretto Adagio)
Recitation: Letters from Mozart to his Father
Thema mit 6 Variationen (Andante)
Recitation: Letters from Mozart to his Father
Finale (Molto allegro)
Tonight's performance does not contain an intermission.
41st Performance of the 126th Annual Season
42nd Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photograph?ing or sound recording is prohibited.
This performance is supported by Ann and Clayton Wilhite.
Media partnership for this performance is provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Amy Porter, the U-M School of Music, and Michael Kondziolka for their participation in the Netherlands Wind Ensemble educational activities.
The Netherlands Wind Ensemble appears by arrangement with MCM Artists, Thomas P. Gallant, Managing Director.
Large print programs are available upon request.
Serenade No. 10 in B-flat Major, K. 361, "Gran Partita"
Wolfgang Amadeus Mozart
Born January 27, 1756, in Salzburg, Austria
Died December 5, 1791, in Vienna
Probably the most beautiful work ever written for wind instruments, Mozart's "Gran Partita" forms the framework for this unique view into the life and times of Mozart. During his travels, Mozart wrote many letters home letters that explain a great deal about the boy, man, and composer. Between each movement of the piece, the Netherlands Wind Ensemble presents a fascinating selection of letters that tell a story of contempt, rebellion, and conspiracy in the courts of Europe. The concert mood can be. described as follows:
The atmosphere on stage is 18th-century: a chandelier, an armchair, a desk and a candle. Mozart's magnificent music starts and after the first movement Mozart walks towards his desk. A small birdcage is on top of it. He lights the candle and starts to recite his first letter to his father. After he finishes he blows out the candle and the second movement of the "Gran Partita" starts. And so on. The music develops, as do the letters. Mozart is serious, as well as humorous. He complains to his father, he brags, he enthusiastically reports on a concert and he tells about his love for Constance. He comforts his father, makes funny remarks, but is also angry with people who don't believe in him or don't support him. In a sense he is a prisoner of all the persons who profit off of him, who are jealous of him, or who just don't trust him. It becomes increasingly clear: Mozart is fed up with his obligations and wants to be free. At the end of the "Gran Partita," just before the spectacular finale, he opens the door of the birdcage..."
The great serenade for 12 wind instruments and double bass, Serenade No. 10, K. 361 was composed in 1781, the year in which Mozart's life took its decisive turn. In the spring of that
year Mozart returned to Salzburg after spend?ing several congenial months in Munich, directing the rehearsals and performance of Idomeneo. He resumed his duties at the court of Archbishop Colloredo with the utmost reluc?tance. After the comparative freedom of those months in Munich, the restricted life of the Salzburg court was hard to tolerate. It was not long, in fact, before he finally rebelled against the ignominies of his position and the obstruc-tiveness of the Ersliimmel (arch-boor) as he called his employer. After a stormy interview with the archbishop, Mozart left his service for?ever and settled in Vienna to try to make his way as an independent musician.
It is tempting to assume that Mozart made the first sketches of the serenade in Munich during the winter of 1780-81 and played much of it through with the wind players of the orchestra, which he had for Idomeneo. This ensemble was one of the best of its time. Most of the musicians had played in the famous Mannheim orchestra before being summoned to Munich by Karl Theodor, the new Elector of Bavaria. Mozart knew them from his first Mannheim visit in 1777 and the unusual instrumentation of the serenade suggests that Mozart wrote it with them in mind. As in Idomeneo, he employs four horns, while in all his other chamber and orchestral compositions he has the customary two horn parts.
The late-18th century saw the last flowering of court entertainment music. The aristocracy and the rich, aspiring middle class were quite insatiable in their demand for pieces that could be considered "light amusement". Countless serenades, divertimenti, cassations, etc. were composed, most of them for small chamber ensembles (one more or less standard medium was the wind sextet, consisting of two oboes, two bassoons, and two horns, and this was sometimes augmented by two clarinets to make an octet).
These works are related to the suite or partita form (on the title page of the Serenade No. 10 an unknown hand has added the words "gran partita") in that they are comprised of an indef?inite number of short, related movements. The
divertimenti consist mostly of dance movements, while in the serenades vocal forms sometimes occur. Differing from the baroque suite, the movements are not always in the same key.
In the year before 1781, Mozart wrote several entertainment works of this traditional type -probably on the archbishop's orders. They are quite different in character from the three sere?nades for wind instruments composed between 1781 and 1784. For all their surprising melodic richness and ingenious formal structures, they conform entirely to the prevailing composition?al style and it is clear that they were written for social purposes, to enliven a party, a banquet, or some similar occasion.
When Mozart became his own master in 1781, however, he no longer had to consider the wishes of an employer or to suit his music to a particular occasion. The three wind serenades, in B-flat (K. 361), in E-flat (K. 375) and in c minor (K. 388) are therefore the first works in this medium that may be seen as genuine chamber music, not bound to a particular pur?pose. The tonal and technical characteristics of the different instruments no longer serve merely to lend variety to the music, but are deliberately made important elements in the composition.
The scoring of the serenade shows too, that in breaking free of the archbishop, Mozart was at the time breaking free of the traditional rules of composition and instrumentation. The use of four horns is very unusual for the period in which the serenade was written. For the rich modulations of this work Mozart needed a sup?ply of notes that could not be produced by only two natural horns (then still in use). By divid?ing the horn parts between two horns in F and two in B flat, Mozart ingeniously solved this problem.
Another instrumental innovation is the use of two basset horns. (The name of this instru?ment is confusing. The basset horn probably received its name in the early days of its devel?opment when its curved shape made it resem?ble a horn. It is not, however, a brass instru?ment, but a bass clarinet in F.) Mozart loved the mellow plaintive tone of the basset horn, and subsequently used it in many chamber works
and cantatas, including the Masonic Funeral Music and the Requiem.
Finally, a surprising point: In his manuscript Mozart emphasized that the bass part was to be played by a double bass. To keep this a pure wind piece, he should have allotted this part to a double bassoon. In Mozart's days, however, this instrument was too little developed to be of any use in chamber music. Even today, in spite of the improvements to the double-bassoon in the 19th century and the fact that the first edi?tion of the score indicates double-bass or dou?ble-bassoon, the string instrument is still gener?ally preferable in this work because of its greater sonority and technical fluency.
It is not known when Serenade No. 10 for 13 wind instruments was first performed. There is no existing mention of it earlier than a Viennese concert announcement of 1784, which states that "a great wind piece of a quite special kind" by W.A. Mozart would be performed at a forthcoming concert.
Program note courtesy of the Netherlands Wind Ensemble.
Originally founded in 1959, the current Netherlands Wind Ensemble (NWE) is formed by wind soloists of the major sym?phony orchestras of the Netherlands, including players from the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic, the Residentie Orchestra of The Hague, and the Holland Symfonia. The mem?bers come together about 50 times a year to perform special programs of both classical and contemporary repertoire, at home and abroad.
The NWE is always looking for new com?posers and new ideas, regularly launching adventurous collaborations with jazz musicians, world music players, dancers, deejays, veejays, and producers. The NWE has its own concert series in Amsterdam, in the Concertgebouw and in the "rock temple" Paradise The annual spectacular New Year's Concert on January 1 in
the Concertgebouw in Amsterdam has been a national tradition since the 1980s. Since 1995 this concert has been broadcast live on national television and radio.
The NWE has performed all around the world and undertakes two international concert tours a year. Previously, the NWE recorded for Philips and Chandos, but in 1999 started their own label, NBELIVE, with the motto "for those who were there, or wished they were."
This performance marks the Netherlands Wind Ensemble's fourth appearance under UMS aus?pices. The Ensemble made their UMS debut in February 1974 in Rackham Auditorium.
Netherlands Wind Ensemble
Bart Schneemann
Justine Gerretsen
Harmen de Boer Niek Wijns
Frank van den Brink
Gerrit Boonstra
Bassoon Dorian Cooke Marieke Stordiau
French horn Peter Hoeben Kirsten Jeurissen Mirjam Steinmann Rebecca Grannetia
Double bass Wilmar de Visser
Bart Schneemann
James Murray
Hessel Veldman
Staff US Tour
Artistic Leader Bart Schneemann
Managing Director Johan Dorrestein
Producer Manuela Lageweg
Netherlpnds Wind Ensemble
Rennie Harris Puremovement's Facing Mekka
Directed and Choreographed by
Rennie Harris
Producer and Composer Darrin M. Ross
Music Collaborators
Grisha Coleman, Philip Hamilton, Kenny Muhammad, Lenny Seidman
Original Music Creation: "Breath" Ron Wood
Collage Artists
John Abner and Theodore Harris
Production Manager James Clotfelter
Visual DesignVideographer Tobin Rothlein
Lighting Design David Szlasa
Alaliah Afelyone
Brandon Albright
Dave Austin
Erica Bowen
James Colter
Princess Mhoon Cooper
Set Designer Jorge Cousineau
Sound Design Darrin M. Ross
Costume Designer Ada Jiron
Technical and Lighting Director James Clotfelter
DJ Evil Tracy
Nina Flagg Duane Holland Keith Stallworth Makeda Thomas Ron Wood
Friday Evening, February 11, 2005 at 8:00 Saturday Evening, February 12, 2005 at 8:00 Power Center Ann Arbor
Tonight's performance does not contain an intermission.
42nd and 43rd Performances of the 126th Annual Season
14th Annual Dance Series
Supported by the Heartland Arts Fund, a program of Arts Midwest fund?ed by the National Endowment for the Arts with additional contribu?tions from General Mills Foundation, Land O'Lakes Foundation, Sprint Corporation, and Michigan Council for Arts and Cultural Affairs.
Special thanks to ProQuest Company for their support of the Rennie Harris Puremovement Youth Performance.
Media partnership for these performances is provided by Detroit Jewish News, Michigan RadioMichigan Television and Michigan ChronicleFront Page.
Special thanks to Bill DeYoung and the U-M Department of Dance for their participation in the Rennie Harris Puremovement residency.
The creation of Facing Mekka was made possible in part by a grant from Dance Advance, a program funded by the Pew Charitable Trusts and administered by Drexel University.
The project Facing Mekka was funded in part by Creative Capital.
Facing Mekka was made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and Altria Group, Inc.
Facing Mekka is supported in part by a grant from the National Endowment for the Arts.
The creation of Facing Mekka was made possible in part by the financial support and assistance from the Rockefeller Foundation.
This project Facing Mekka is partially supported by a grant from Pennsylvania Performing Arts on Tour, a program developed and funded by the Vira I. Heinz Endowment; the William Penn Foundation; the Pennsylvania Council on the Arts, a state agency; and The Pew Charitable Trusts; and administered by Mid Atlantic Arts Foundation.
Facing Mekka was commissioned by The Joyce Theater's Stephen and Cathy Weinroth Fund for New Works and was commissioned in part by the Walker Art Center with funds from the Doris Duke Fund for Jazz and Dance.
Facing Mekka was created in part with commissioning support from the Bates Dance Festival which was made possible with funding from the Ford Foundation.
Facing Mekka was also commissioned by Het Muziektheater Amsterdam; Jacobs Pillow (Lee, MA); Lafayette College Williams Center for the Performing Arts (Easton, PA); Mondavi Center for the Performing Arts & University of Arizona (AZ), UC Davis (Davis, CA); UCLAlive (Los Angeles, CA).
Rennie Harris Puremovement appears by arrangement with H-ART Management.
The photographing or sound recording of this concert or possession of any device for such photograph?ing or sound recording is prohibited.
Large print programs are available upon request.
Facing Mekka
The use of folk and ethnic themes is not new on the contemporary dance stage. In fact, what we know as modern dance began with an invo?cation of the "other". Isadora Duncan went to the Greeks, Ruth St. Denis and Ted Shawn went to India and Asia, Martha Graham invoked the southwest Indian-Mexican (El Penitente) and African American (American Document), and Katherine Dunham based a whole technique on her Caribbean research. In today's cosmopolitan and global era, contem?porary choreographers are engulfed in a fusion of cultures and styles that reflect the US as a center of world culture. Rennie Harris's Facing Mekka is a vertical dive into to this cultural fusion through the human body and spirit via the African diapsora. In our hip-hop-rock-reg?gae-garage-new wave times, Harris explores what binds us as human beings in a post-911 world that sorely needs to understand and move to that which unites, rather than divides. And if the music, rhythms, and movements that fused and permeated the world through the cultures that emerged from the trans-Atlantic slave trade could possibly lead us to a more united space, what more appropriate movement form than hip-hop Harris' stage oeuvre is so "street" that it is in fact postmodern.
Harris views hip-hop as a cultural extension of Africanist dance culture: from the Senegalese bantaba circle to the 1920s Savoy ballroom and 1970s street corner b-boy competitions, Harris makes each of his works a collaboration between him and the dancer's moment-by-moment engagement with the improvisatory tradition. Hip-hop's street vernacular becomes a launching pad into the exploration of global human connection that is Facing Mekka. As in his previous works, Harris starts and ends with the black urban streets, making no detours to the ballet or modern dance methods to speak his movement truth, and in doing so his work becomes postmodern in the truest sense of the relative and the global.
Rennie Harris Puremovement, based in Philadelphia since 1992, is one of the first American concert dance companies to take street dance as its launching pad: entertain an audience thoroughly, yet probe the human psy?che by utilizing hip-hop to make poignant per?sonal and cultural statements. In Facing Mekka, Harris takes hip-hop dance (popping, electric boogaloo, b-boying) to its roots in diasporic movement styles, emerging from African move?ments and rhythms. As Suzanne Carbonneau has said, "But for Harris, extending hip-hop means expanding the possibilities for the form to achieve meaning, depth, and significance, rather than to simply increase its physical thrills and acrobatics". When one views the minute changes in movement from a West African stomp and graceful throw of the arm, to a sen?sual Caribbean hip movement, to a familiar power move of the b-boy on the down low, all in the service of probing the human spirit and the potential we have between each other, one understands the "extension" of hip-hop styles of which Carbonneau speaks. A clear example of this extension is his juxtaposition in Facing Mekka of the hip-hop popping style with Japanese butoh, a post-World War II movement vocabulary that developed out of the angst of a bombed society. The internal muscular work necessitated for the skillful execution of both forms becomes a point of exploration to reveal deep human connections.
Harris goes beyond the spectacle of the form and takes us on a vertical dive into the collec?tive soul, while mesmerizing us with luscious movement in the process. In so doing, Harris has placed women in the foreground, with the movement and spiritual potential that central?izing the feminine can bring. In a form that has been noted for its machismo, the female dancers in the work bring a balanced, nuanced statement that previous Harris works did not include. In Facing Mekka, he has challenged himself to move beyond his previous artistic boundaries, and equally is asking his audience to suspend our own cultural limitations and to envision the global connections in the bodies of his dancers. None of us can take these leaps of
faith if we don't turn inward; inward to a space where human breath becomes the thread. As Harris often says to his audience, "Race means competition there's only culture." In plum?meting the archeology of the human spirit, Facing Mekka becomes a metaphor for Harris facing himself, while forcing us to face the potential that waits just below the surface of human culture at every moment.
Program note by Halifu Osumare, Ph.D. Dance Educator and American Studies Scholar
Rennie Harris Puremovement (RHPM), founded in 1992, is dedicated to preserving and dis?seminating hip-hop culture through workshops, classes, hip-hop history lecture-demonstrations, long term residencies, mentoring programs, and public performances. The company's work encom?passes the diverse and rich African-American traditions of the past, while simultaneously pre?senting the voice of a new generation through its ever-evolving interpretations of dance. The company is committed to providing audiences with a sincere view of the essence and spirit of hip-hop rather than the commercially exploited stereotypes portrayed by the media.
RHPM has established a strong reputation in Philadelphia for innovative and exciting classes and workshops for children, beginning with Rennie Harris' own involvement teaching as part of the Smithsonian Institution's Folklife Center from the age of 14. The Company engages its community on a number of levels and has made significant impact with at-risk youth in Philadelphia. The Company produces a hip-hop festival Illadelph Legends that takes place annually in Philadelphia, honoring hip-hop pioneers locally and nationally. The festival unites seminal performers from the beginning of hip-hop with contemporary influ?ential performers, sharing histories through events including symposia, jam sessions, lec?tures, panel discussions, and demonstrations.
Since its inception, Rennie Harris Puremovement has performed to sold-out audiences at venues in the United States and abroad including Grand Halle de Pare de la Villette in Paris, Reichold Center in St. Thomas, the Kennedy CenterWashington DC, the Holland Festival, Kiasma Museum in Helinski, Spoleto Dance FestivalSC, the Nervi Festival in Italy, Colorado Dance FestivalBoulder, the New Victory TheaterNYC, Bates Dance FestivalME, On the BoardsSeattle, and Dance Place Washington, DC. In the past year, the Company has continued to build its international reputa?tion through its participation in "Cool Heat, Urban Beat" which continues to tour to packed houses throughout the world. In March 2001, RHPM was honored with the invitation to appear and perform at the NAACP's Image Awards. The company has toured the US as part of Chuck Davis' DanceAfrica America and most recently received critical praise for its par?ticipation in the Brooklyn Academy of Music's DanceAfrica America.
This weekend's performances mark Rennie Harris Puremovement's third and fourth appearances under UMS auspices. The company made their UMS debut in January 2002 at the Power Center.
Rennie Harris (Artistic Director, Choreographer, and Director) is well versed in the vernacular of hip-hop which includes the various techniques of B-boy (misnomer "break" dancing), house dancing, stepping and other styles that have emerged spontaneously from the urban, inner cities of America like the North Philadelphia community in which he was raised. He has brought these "social" dances to the concert stage, creating a cohesive dance style that finds a cogent voice in the theater. He is a powerful spokesperson for the significance of "street" origins in any dance style. Intrigued by the universality of hip-hop, he seeks inspira?tion from other forms and performance art. Since the age of 15, he has taught workshops and classes at many schools and universities
including University of the Arts, UCLA, Columbia College, and Bates College. He is a 1996 recipient of the Pew Fellowship in the Arts for Choreography and has received awards from the Pennsylvania Council on the Arts, a Pew Repertory Development Initiative grant, the City of Philadelphia Cultural Fund, and the 3996 Philadelphia Dance Projects commission. Mr. Harris was voted one of the most influen?tial people in the last 100 years of Philadelphia history and has been compared to 20th-century dance legends Alvin Ailey and Bob Fosse. He was also nominated for the Laurence Olivier Award and has been recently awarded the Herb Alpert Award in the Arts. In July 2004 he received the key to the City of Miami, Florida for his international contributions to the hip-tiop world. His group of dancers and their infectious brand of movement have toured around the globe. At 40, Lorenzo "Rennie" Harris is atop the hip-hop heap its leading ambassador.
Damn M. Ross (Operations Director, Producer, ?fomposer, Sound Designer, and Engineer) has been producing and engineering songs since 1984 with Jam On Productions. He has recently completed the score for Suzan Lori Parks TopDogUnderdog. He is also the recipient of a 2001 New York Dance and Performance Award .(BESSIE) for his music composition for Rennie
Harris Puremovement's Rome & Jewels. Mr. Ross has worked with and established many artists in the industry, including PM Dawn, Doug E. Fresh, The Roots, and Bowser. In 1992, he formed I.Q. Records and is now directing his own production company, KIA-TIFF. Past collaborations with Rennie Harris include the 1990 Co-production of television segments for Dance Party USA and 1 House Street, scoring and composition efforts for The Pennsylvania Ballet and The Memphis Ballet, and various movies. In 1997, Mr. Ross received Philly's Street Buzz "Producer Of The Year" award. Currently, Mr. Ross is editing and completing a Rome and Jewels Documentary, and The RHPM Story documentary. Mr. Ross is also completing his solo album project and devoting his spare time to composing for other film and dance companies. His sound design credits include Fallen Crumbs from the Cake, Cool Heat Urban Beat, Hot Mouth, Rome and Jewels, Facing Mekka, Maurice Hines Hot Feet, and Eleone Dance Company. Ross is President of the production studio, I.Q. Recording Inc.
John Abner (Visual Artist) is a Philadelphia community-based artist. He graduated from Temple University Tyler School of Art with a BFA in Painting and Art History. He is current?ly employed at the Willet Stained Glass Studio as a color selector. Mr. Abner has coordinated several art projects with the Mural Arts Program in Philadelphia and has exhibited his artwork in several juried shows locally and nationally.
Afaliah Afelyone (Dancer) is a native of Columbus, Ohio and has studied with China White, Marie Basse Wiles, Bebe Miller, Abdou Kounta, and Andrea Woods. She received her B.F.A. in Dance from Ohio State University. Ms. Afelyone is a singer, song writer and Emcee and is featured on the internationally released hip-hop compilation, Bringing it Home Vol 1.
Brandon Albright "Bro Peace" (Dancer) was an original member of the Scanner Boys and has toured the US and Europe. He has danced for major recording artists such as Schooly D,
Tuff Crew, LL Cool J, and the Beach Boys. While committed to dancing with Rennie Harris Puremovement, he is also pursuing a career as a rapper and lyricist.
David Austin, AKA Kafele (Dancer) was born and raised in Trenton, NJ. As one of Philly's earliest pioneers of house dance, he has con?tributed much to its underground dance scene. Mr. Austin has choreographed and danced for many underground music acts. He is currently developing projects for his own dance compa?ny, Amalga Dance Massive.
Erica Bowen (Dancer) began training in California with Stefan Wenta and Winifred Harris. After graduating high school, Ms. Bowen studied and performed an array of Cuban modern, folklore, and popular dances with Danza Contemporanea de Cuba at Teatro Nacional de Cuba. After returning to the states she relocated to New York and attended New York University and the Martha Graham School. Through her career she has performed with Rod Rodgers Dance, Earl Mosley's Diversity of Dance, M'sawa Danza, First Annual Jazz Dance Awards, Assokere Cuban dance Stephen Koplowitz, Lynn Parkerson, FIFA World Cup, New York Chamber Opera, L.A. Contemporary Dance Ensemble, and Between Lines.
James Clotfelter (Technical Director) most recently designed four world premieres for Phrenic New Ballet in Philadelphia and various works for Walkabout Theatre, Will Act For Food, and Backstage Theatre Company in Chicago. Before Chicago, he spent two years in London, where, among other things, he was the lighting design apprentice for Mountview Theatre Conservatory, the technical stage man?ager for the international tour of the British physical theater company's Spymonkey, and a freelance lighting designer. His London lighting design credits include Cochrane Theatre, Greenwich Playhouse, The Pleasance, Westminster Theatre, Watford Palace Theatre, and Mountview. Mr. Clotfelter received a BFA in Lighting Design and Technical Direction from Tulane University in New Orleans.
Grisha Coleman (Composer and Vocalist) born in New York City, works as a multimedia artist -composer, performer, and choreographer. She is the artistic coordinator of the music perform?ance company, HOT MOUTH, which in 1998 was nominated for a Drama Desk Award for "Most Unique Theatrical Experience". She has been the recipient of a number of awards and commissions for her continued work including: the Jerome Foundation, a Rockefeller Multi-Arts Production Grant, a Franklin Furnace Performance Art Grant, a New York Foundation Artist's Fellowship, a Movement Research Artist in ResidenceCommission, and The Van Lier Choreographer's Fellowship. From 1989-1993 she was a member of the Urban Bush Women dance company. This year she has been in resi?dency developing new multimedia work at the Banff Arts Centre for New Media for a new installed performance project.
James P. "Cricket" Colter (Dancer) is a hard?core underground hip-hop (house, b-boy, etc.) dancer who has opened concerts for major recording artists such as Boyz II Men, KRS-1, Dee-Lite, Will Smith, and Rosie Perez and has danced in many international hip-hop dance contests. Mr. Colter is an accomplished illustra?tor whose work is heavily influenced by hip-hop culture. He is also part of the New York based breakdancinghip-hop dance crew, Step Frenz and has his own dance crewcompany, Crazy NativesSoul Motion.
Jorge Cousineau (Set Designer) has been working in and around Philadelphia's theater and dance world for the last five years, design?ing sets, lights, and sounds as well as compos?ing music for companies such as Group Motion, SCRAP Performance Group, Pig Iron Theatre, 1812 Productions, Arden Theatre, and Paule Turner's COURT. Together with his wife Niki, he operates Subcircle, a dance company focusing on site-specific performances.
Nina Kamala Flagg (Dancer) was born in Los Angeles to Valdez Flagg and Karen McDonald. Nina trained at the Los Angeles School of
Gymnastics for 9 years. Her dance training began with her mother and continued with other notable teachers such as Stefan Wenta, Yuri Grigoriev, Claude Thompson, Terry Beeman, Paul and Arlene Kennedy, Ron Brown, Otis Sallid, and Nzingah Kamari. At age 12, Ms. Flagg was introduced to directorchoreographer Debbie Allen when she was hired as a dancergymnast for the 63rd-annual Academy Awards. She went on to attend the Los Angeles County High School for the Arts, and then obtained her Bachelor of Arts in Sociology from UCLA. In 2001, Ms. Flagg was invited to teach on the staff of the Debbie Allen Dance Academy in Culver City, CA and is also cur?rently a guest hip-hop choreographer for the dance department of Loyola Marymount University.
Philip Hamilton (Musician, Percussion, and Vocals) was born in Medford, MA and educated at Middlebury College where he received a BA in Political Science and Performance Studies. He later pursued his childhood passion study?ing voice and percussion at the Berklee College of Music and the Longy School of Music. In the late 1980s Mr. Hamilton founded the highly successful jazz fusion band Full Circle, releasing three recordings on ColumbiaSony Records. His work with Full Circle led to collaborations with such noted musicians as John Cage, Special EFX, Phoebe Snow, and the Duke Ellington Orchestra. He was most recently fea?tured as the lead vocalist for the 1998 and 1999 tours of the Pat Metheny Group. He is currently the leader of his own band, the Philip Hamilton Group which features his original compositions showcasing the African, Caribbean, and jazz influences integral to his work. In addition to being an inventive and soulful vocalist, Mr. Hamilton has leant his substantial talent to the dance world. He has created music or worked on musical projects with such noted artists as the Alvin Ailey American Dance Theater, Danny BuraczeskiJazzdance, Mark Morris, David Dorfman, Donald ByrdThe Group, Dance Theater of Harlem, and Ballet Hispanico.
Theodore A. Harris (Visual Artist) is a collag-ist, poet, and muralist born in New York City in 1966 and reared in Philadelphia, PA. He has painted murals throughout the city of Philadelphia with the Mural Arts Program since 1983. He served as the setartistic consultant for Washington DC Lincoln Theatre's 1999 production of Langston Hughes' play, Black Nativity, and was the Artist in Residence for the 2000 Festival of Arts & Ideas in New Haven Connecticut. He was also responsible for the setcollage projections for The Cold Cradle pre?sented by The Spoke 'n Weal in September 2001 and worked on sets for the Philadelphia Fringe Festival.
Duane L. Holland Jr. (Dancer) was born in Devon, PA, and currently resides in Brooklyn, New York. Duane has studied dance at the Daily's School of Performing Arts, Broadway Dance Center, and Creative and Performing Arts School. He has performed with Kool and the Gang, Maurice Hines, Chuck Davis, and Ron Brown. He has also been performing with Puremovement since 1994 and has toured all around the world, not only as a dancer, but also as a gymnast. As a member of the US Junior National Team between 1989 and 1992, he competed in the Junior Pan American and in the Portugal Invitational, placing no lower than third place, twice. Duane was recently seen in the Broadway production of the Lion King.
Ada Jiron's (Costume Designer) designs are fea?tured in galleries, stores and stage productions from New York to San Francisco. She was the co-founder of San Francisco-based JADA wom-enswear, whose clients include 78 leading department and specialty stores across the country: Lord & Taylor, I'Magnin, SF, Martha's at the Trump Towers NY, etc. More recently, she has worked from her studios in New York and San Francisco, creating and producing stage and CD cover wardrobes for leading pop and jazz artists, including Lyle Mays from the Pat Metheny Group, Mike Manieri, leader of the legendary jazz group Steps Ahead, and Smooth Jazz's rising star Joyce Cooling. Her various
stage production credits include works for Sara PearsonPatrik Widrig and Composer Philip Hamilton's Vocalscapes, all featured at the Joyce Theater's Altogether Different Series in New York.
Princess Mhoon Cooper (Dancer) began her training in her hometown, Chicago, Illinois. She received her BFA in Dance from Howard University in 1998 and began her professional career immediately. Mrs. Mhoon Cooper has performed with Muntu Dance Theatre of Chicago, African American Dance Ensemble, Ronald K. BrownEvidence, and Nathan TriceRituals. Mrs. Mhoon Cooper has been performing with Rennie Harris Puremovement as a guest since 1997. Her own work was fea?tured in This Woman's Work: Black Women Choreographers of the Next Generation in New York City at the Cunningham Studio May 30-June 1,2003.
Kenny Muhammad {Composer and Vocalist) summons African, classical, jazz, rock, mambo, meringue, salsa, reggae, and hip-hop rhythms through the manipulation of the "first" instru?ment, his own body. Mr. Muhammad's vocal work has gained recognition in Africa, Japan, Europe, and throughout the United States. He has performed with such diverse acts as Public Enemy, Jermaine Jackson, Regina Bell, the Gap Band, violinist Eugene Park, jazz vocalist Will Downing, and the New York Symphony Orchestra at Manhattan Center (conducted by David Eaton). He has made appearances on CBS This Morning, Good Day New York, and at Carnegie Hall. Mr. Muhammad is a three-time consecutive winner on Show Time at the Apollo. He has also written, created, and been featured in several nationwide television and radio com?mercials. His commercial for Burger King was nominated for a Cleo award.
Tobin Rothlein {Film and Video Artist) is interested in exploring the area between film and stage, with a focus on movement and dance. His work has been seen at Anthology
Film Archives, Walter Reade Theater at Lincoln Center, the Place and the BBC Film Festival in London, the Forest Theater, the Mann Music Center (Shut up and Dance), and the Peabody Essex Museum in Boston. Mr. Rothlein is co-artistic director of Phrenic New Ballet, a contemporary dance company dedicated to premiering innovative multi-medium dance work.
Lenny Seidman (Tabla, Percussionist, and Composer) is co-director of Spoken Hand Percussion Orchestra which merges four tradi?tional drumming batteries: Afro Cuban bata, North Indian tabla, Brazilian samba, and West African djembe. They recently completed a col?laborative project with Zakir Hussain and Rennie Harris Puremovement. He is director of the Lenny Seidman Tabla Choir, and is an origi?nal member of Atzilut, the Middle Eastern Jewish music ensemble noted for its Arabic cul?tural bridging projects. He has founded and coordinated several other ensembles including the Shamanistics and Splinter Group. Mr. Seidman was co-recipient of a 2002 NEA grant and two Rockefeller Foundation MAP Fund grants (2000 and 1998) to create new work for Spoken Hand. He has been guest artist and tabla instructor at Swarthmore College since 1998, where he set several compositions for tablagamelan ensembles and for the Kathak dance ensemble.
David Szlasa (Lighting Design and Technical Direction) is the production manager at the Culture Project in New York. He previously served in the same role at Theater Artaud in San Francisco where he designed Beatbox: a Raparetta for Felonious, deCipher for the Living Word Festival and 5 Flights at the Thick House. In addition, Mr. Szalsa toured nationally and internationally with Bill "Crutchmaster" Shannon and to Zimbabwe with Universal Arts the Beat. Other work experiences include pro?duction and design residencies with Dance Theater Workshop, Washington Square Church, The Drama League, and Fractured Atlas
Productions in New York. Mr. Szalsa is the founder and former Artistic Director of Titan Artistic Productions, Inc. a non-profit dedicat?ed to producing new work by experimental theater artists. He holds a BFA in Drama from New York University.
Makeda Thomas (Dancer) is originally from Port of Spain, Trinidad. She has performed extensively with Ronald K. Brown, the Urban Bush Women, and the Lula Washington Dance Theater in Los Angeles, California. In addition, she has worked independently with several choreographers throughout New York City including Eleo Pomare, Dyanne Harvey-Salaam, Robin Becker, and Trebien PollardSkeleton Dance Project. Ms. Thomas began her training with Michael Goring in Brooklyn, New York. She continued her train?ing, receiving scholarships at the Martha Graham School of Contemporary Dance, the Paul Taylor School of Dance, and Hofstra University where she earned a BA in DanceEnglish.
Tracy Thomas, "Evil Tracy" (DJ) has worked in the studio, on radio, television, and video. In the summer of 1995 he worked with Grand Wizard Rasheen on the radio station 88.1 WXPN Philadelphia. Some of his video and television credits include: Street Soldiers, by On The Go magazine, Live Convention, Old School Hip Hop Alliance, and the Tru Heads Movie, which was seen on HBO, BET, and The Avenue. Evil Tracy has opened for several international acts including Busta Rhymes and Wu-tang. He is a founding member of the Action Figure Grew; DJ Kid Swift, DJ Active, and DJ Ghetto, a riamily crew out of Philadelphia. Evil Tracy par-:icipated in three DMC competitions, the Battle for World Supremacy, Temple University's DJ Battle, The Cat Club DJ Battle, ind QlO2's DJ Spin Off by DJ Jayski. He is the :hampion of many one-on-ones and is cur-ently part of the cast of Illadelph Legends.
Ron Wood AKA Zen One (Dancer) is a self-taught dancer in the competitive form of hip-hop. Involved in the Philadelphia club scene since 1988, Mr. Wood wasn't introduced to the theater world until joining Rennie Harris Puremovement (RHPM) in 1995, in which he remains a core member. As a solo choreogra?pher, he has shown work at Aaron Davis Hall's E-moves (Harlem, New York), the Sixth Annual African-American Festival of Dance (AustinHouston, Texas), 5'5" and Under (Philadelphia, PA), Martha @ the Bride (Philadelphia, PA), and the 2001 Kumquat Benefit (Philadelphia, PA). He is also the founder and artistic director of the Zen One Dance Collective (ZODC); a theater-based hip-hop company that explores the fusion of dance, martial arts, and music.
Rennie Harris Puremovement Staff Listing
Artistic Director, Rennie Harris
Managing Director, Mark Abrams
Assistant Artistic Director, Brandon Albright
Tour Director, Darrin Ross
Corporate Partners Assistant, Jenny Filer
Executive Administrative Assistant, Sonia Perkins
For more information on RHPM, please visit
MS experience
January 05
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 DJ Spooky: Rebirth of a Nation
Sun-Mon 16-17 Ronald K. BrownEvidence
Wed 26 Lahti Symphony Orchestra with
Louis Lortie, piano
Sun 30 Audra McDonald
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
Sat-Sun 5-6 New York Philharmonic
Thu 10 Netherlands Wind Ensemble
Fri-Sat 11-12 Rennie Harris Puremovement: Facing Mekka
Sun 13 Michigan Chamber Players (Complimentary Admission)
Fri 18 Soweto Gospel Choir
Sat 19 Jack Dejohnette Latin Project
Sun 20 Takacs Quartet: Complete Bartok String Quartet Cycle
Mon-Wed 21-23 Kodo Drummers
Fri 25 A Midsummer Night's Dream: A Semi-Staged Performance
Sat 5 Dan Zanes and Friends Family Performance
Wed 9 Florestan Trio
Thu 10 Fred Hersch Ensemble: Leaves of Grass
Thu-Sun 10-13 Robert Lepage: The Far Side of the Moon
Sat 12 Oslo Philharmonic with Anne-Sophie Mutter, violin
Sat 19 James Galway, flute and Lady Jeanne Galway, flute
Fri-Sat 1-2 Emio Greco PC
Sat 2 UMS Choral Union: Haydn's Creation
Fri 8 Trio Mediaeval
Sat 9 Malouma
Sun 10 Songs of the Sufi Brotherhood
Wed 13 Chamber Orchestra of Philadelphia with Ignat Solzhenitsyn, piano
Thu 14 La Capella Reial de Catalunya and Le Concert des Nations
Wed 20 Felicity Lott, soprano and Angelika Kirchschlager, mezzo-soprano
Thu 21 John Scofield Trio and Brad Mehldau Trio
Thu 28 Jerusalem Quartet
Sat 14 Ford Honors Program: Guarneri String Quartet
UMS's Education and Audience Development Program deepens the relationship between audiences and art, and raises awareness of the impact the performing arts can have on our community. The program creates and presents the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
The UMS Education and Audience Develop?ment Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing com?munity receptions; artist interviews; workshops; in-school visits; master classes; lectures; youth, teen, and family programs; educator profes?sional development; curriculum development; and much more.
UMS Community Education Program
Details about educational events are posted at one month before the per?formance date. To receive information and e-mail reminders about UMS educational events, join the UMS E-Mail Club at For immediate information, e-mail, or call the numbers listed below.
UMS Partnership Program
If you represent an organization that would like to work in collaboration with UMS to create education events or attend performances and community receptions, please call 734.764.6179.
African American Arts Advocacy Committee -The NETWORK
If you are interested in networking with the African American community and supporting African American artistry and performance, please call 734.764.6179.
Arab World Festival Honorary Committee
If you would like to be involved in the Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
Educational Programs
UMS hosts a wide variety of educational opportunities that provide context and inform audiences about the artists, art forms, and cul?tures we present. For more information about this program, please call 734.647.6712 or e-mail Events include:
PREPs pre-performance lectures
Meet the Artists post-performance artist interviews
Artist Interviews public dialogues with performing artists
Master Classes interactive workshops
PanelsSymposia expert-led, university-based presentations
Study Clubs in-depth adult education related to a specific art form
Artist-in-Residence artists teach, create, and meet with community groups, university units, and schools.
UMS Youth, Teen, and Family Education
UMS has one of the largest K-12 arts educa?tion initiatives in the State of Michigan. For more information, or to become involved, please call 734.615.0122 or e-mail
Winter 2005 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
DJ Spooky: Rebirth of Nation
Sphinx Competition
Rennie Harris Puremovement
Dan Zanes and Friends
Teacher Workshop Series
UMS offers two types of K-12 Educator Workshops: Performing Arts Workshops and Kennedy Center Workshops. Both types focus on teaching educators techniques for incorpo?rating the arts into classroom instruction. This year's Kennedy Center Workshop Series will feature a return engagement by noted instructor Sean Layne who will be leading two sessions:
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
Acting Right: Drama as a Classroom Management Strategy
Michelle Valeri, a singer, songwriter, and chil?dren's entertainer, will lead a workshop entitled:
Story Songs for the Young Child
Winter Workshops focusing on UMS Youth Performances are:
Race, Identity and Art: Getting Beyond the Discomfort of Talking About "Normal" led by Marguerite Vanden Wyngaard and Rowyn Baker
Facing Mekka: Hip Hop in Academic and Theatrical Context led by Mark Bamuthi Joseph and members of Rennie Harris Puremovement
Malouma: The Culture, Dance, and Music of Mauritania led by Ibrahima Niang, African Cultural Ambassador, and Mame Lo Mor and Fatou Lo, members of the local Mauritanian community
K-12 Arts Curriculum Materials
UMS educational materials are available online at no charge to all educators. All materials are designed to connect with curriculum via the Michigan State Benchmarks and Standards.
Teen Tickets and Breakin' Curfew
As part of UMS's teen initiative, teens may purchase one $10 ticket to public UMS per?formances the day of the event (or the Friday prior to weekend performances). Alternatively, teens may purchase one ticket for 50 of the originally published price at the door. Breakin' Curfew is an annual event showcasing teen talent, presented in collaboration with Neutral Zone.
Family Programming and Ann Arbor Family Days
UMS offers reduced-priced, one-hour, family friendly performances and workshops. Ann Arbor Family Days features special family pro?gramming from numerous Ann Arbor cultural organizations. For more information, please call 734.615.0122.
UMS Teacher Advisory Committee
This group is comprised of educators, school administrators, and K-12 arts education advo?cates who advise and assist UMS in determin?ing K-12 programming, policy, and professional development. To join, please call 734.615.4077 or e-mail
UMS is a partner with the Ann Arbor Public Schools and the Washtenaw Intermediate School district as part of the Kennedy Center: Partners in Education program. UMS also participates in the Ann Arbor Public School's
Partners in Excellence program.
The UMS Youth Education Program was designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation.
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty997.7185
The Blue Nile Restaurant
221 East Washington 998.4746
The Earle
121 West Washington 994.0211
The Earle Uptown
300 South Thayer 994.0222
Great Harvest Bread Company 2220 South Main 996.8890
Kensington Court Ann Arbor 610 Hilton Boulevard 761.7800
King's Keyboard House 2333 East Stadium 663.3381
Laky's Salon
512 South Main 668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant 3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar & Grill 316 South State994.4004
Schakolad Chocolate Factory
110 East Washington 213.1700
Weber's Restaurant and Hotel 3050 Jackson Avenue 769.2500
216 South State994.7777
UMS Delicious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful 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. 647.8009 or visit UMS online at
UMS Volunteers are an integral part of the success of our organization. There are many areas in which vol?unteers can lend their expertise and enthusiasm. We would like to wel?come 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 educational residency activi?ties, assisting in artist services and mailings, escorting students for our popular youth per?formances, and a host of other projects. Please call 734.936.6837 to request more information.
The 51-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 support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
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 program notes, artist biographies, and program descrip?tions that are so important to the performance 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 organization 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 treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essen?tial functions of assisting patrons with seating, distributing program books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 400 individuals who volunteer their time to make your concert-going experience more pleas?ant and efficient. Orientation and training ses?sions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS performances in a spe?cific venue or sign up to substitute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, call 734.615.9398 or e-mail
The artistic presentations and educational programs that UMS brings to the community each season are sup?ported by generous gifts from individuals, businesses, founda?tions, and government agencies. On the following pages, we have listed those who have chosen to make a difference for UMS by supporting us with an annual gift to operations or endowment. This list includes current donors as of November 1, 2004. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.

$25,000 or more
Robert and Pearson Macek Philip and Kathleen Power
$10,000-$24,999 Maurice and Linda Binkow Carl and Isabelle Brauer Estate of Joanne Cage Maxine and Stuart Frankel Paul and Ruth McCracken Mrs. Robert E. Meredith Prudence and Amnon Rosenthal Ann and Clayton Wilhite
Michael Allemang
Kathy Benton and Robert Brown
Pauline De Lay
Toni M. Hoover
Doug and Sharon Rothwell
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
June Bennett
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ralph Conger
Douglas D. Crary
Jack and Alice Dobson
Molly Dobson
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Claes and Anne Fornell
Ilene H. Forsyth
Friends of Hill Auditorium
Debbie and Norman Herbert
David and Phyllis Herzig
Mohamed and Hayat Issa
David and Sally Kennedy
Concertntasterj, corn.
Robert and Gloria Kerry Dr. and Mrs. Richard H.
Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis Maria and Rusty Restuccia Richard and Susan Rogel Don and Judy Dow Rumelhart Loretta M. Skewes James and Nancy Stanley Lois and Jack Stegeman Susan B. Ullrich Gerald B. and
Mary Kate Zelenock
$3,500-4,999 Bernard and Raquel Agranoff Robert and Victoria Buckler Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. George W. Ford Beverley and Gerson Geltner Betty-Ann and Daniel Gilliland Dr. Sid Gilman and
Dr. Carol Barbour Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Barbara A. Anderson and
John H. Romani Lois A. Theis Dody Viola
Marina and Robert Whitman Marion T. Wirick and
James N. Morgan
Bob and Martha Ause
Essel and Menakka Bailey
Karl Bartscht
Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler Joan Akers Binkow
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Lorenzo DiCarlo and
Sally Stegeman DiCarlo Dr. and Mrs. Theodore E. Dushane David and Jo-Anna Featherman John and Esther Floyd Michael and Sara Frank Sue and Carl Gingles Paul and Anne Glendon Jeffrey B. Green Linda and Richard Greene Janet Woods Hoobler Shirley Y. and Thomas E. Kauper Dorian R. Kim
Amy Sheon and Marvin Krislov Jill M. Latta and David S. Bach Marc and Jill Lippman Sally and Bill Martin Judy and Roger Maugh Ernest and Adele McCarus Martin Neuliep and
Patricia Pancioli Virginia and Gordon Nordby Mrs. Charles Overberger (Betty) Dory and John D. Paul Eleanor and Peter Pollack Jim and Bonnie Reece John and Dot Reed Sue Schroeder Edward and Jane Schulak Helen L. Siedel Don and Carol Van Curler Karl and Karen Weick B. Joseph and Mary White
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Lesli and Christopher Ballard Dr. and Mrs. Robert Bartlett Bradford and Lydia Bates Astrid B. Beck and
David Noel Freedman Frederick W. Becker Ralph P. Beebe Patrick and Maureen Belden Ruth Ann and Stuart J. Bergstein Philip C. Berry
John Blankley and Maureen Foley Elizabeth and Giles G. Bole
Howard and Margaret Bond Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph Bozell Dale and Nancy Briggs Jeannine and Robert Buchanan Lawrence and Valerie Bullen Laurie Bums Letitia J. Byrd Amy and Jim Byrne Barbara and Albert Cain J. Michael and Patricia Campbell Jean W. Campbell Jean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan
Hubert and Ellen Cohen Tom Cohn
Cynthia and Jeffrey Colton Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and
Marta A. Manildi Julie F. and Peter D. Cummings Richard J. Cunningham Peter and Susan Darrow Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz AlDodds
Elizabeth A. Doman John Dryden and Diana Raimi Martin and Rosalie Edwards Charles and Julia Eisendrath Joan and Emil Engel Dr. and Mrs. John A. Faulkner Eric Fearon and Kathy Cho Yi-tsi M. and Albert Feuerwerker Ray and Patricia Fitzgerald Bob and Sally Fleming James and Anne Ford Marilyn G. Gallatin Bernard and Enid Galler Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Mrs. Cozette T. Grabb Elizabeth Needham Graham John and Helen Griffith Martin D. and Connie D. Harris
Principals, cont.
Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan F. Howe Drs. Linda Samuelson and
Joel Howell
Dr. H. David and Dolores Humes John and Patricia Huntington Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Dr. and Mrs. Robert P. Kelch James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Joseph and Marilynn Kokoszka Samuel and Marilyn Krimm Michael and Barbara Kusisto Marilyn and Dale Larson Ted and Wendy Lawrence Peter Lee and Clara Hwang Donald J. and Carolyn Dana Lewis Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans Mark and Jennifer LoPatin Fran Lyman
John and Cheryl MacKrell Jeff Mason and Janet Netz Natalie Matovinovic Raven McCrory Joseph McCune and
Ceorgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Edward Nelson William C. Parkinson Donna Parmelee and
William Nolting Brian P. Patchen Margaret and Jack Petersen Elaine and Bertram Pitt Richard and Mary Price Mrs. Gardner C. Quarton Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Kenneth J. Robinson Patrick and Margaret Ross
Dr. Nathaniel H. Rowe
Craig and Jan Ruff
Nancy and Frank Rugani
Alan and Swanna Saltiel
Dick and Norma Sarns
Maya Savarino
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Ann and Thomas J. Schriber
Erik and Carol Serr
Janet and Michael Shatusky
Muaiad and Aida Shihadeh
J. Barry and Barbara M. Sloat
Shelly Soenen and Michael Sprague
Kate and Philip Soper
Lloyd and Ted St. Antoine
Gus and Andrea Stager
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Charlotte B. Sundelson
Katharine Terrell and Jan Svejnar
Jim Toy
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Mary C. Vandewiele
Rebecca W. Van Dyke
Florence S. Wagner
Elise Weisbach
Robert O. and Darragh H. Weisman
Scott Westerman
Roy and JoAn Wetzel
Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Prof, and Mrs. Charles Witke Paul Yhouse Edwin and Signe Young
Thomas and Joann Adler
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and Jim Baker
Norman E. Barnett
Mason and Helen Barr
L. S. Berlin
Donald and Roberta Blitz
Tom and Cathie Bloem
Paul and Anna Bradley
David and Sharon Brooks
Morton B. and Raya Brown
June and Donald R. Brown
Dr. Frances E. Bull
Mr. and Mrs. Richard J. Burstein
H. D. Cameron
Dr. Kyung and Young Cho
Janice A. Clark
Lois and Avern Cohn
Wayne and Melinda Colquitt
Carolyn and L. Thomas Conlin
Malcolm and Juanita Cox
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Robert J. and Kathleen Dolan
Jack and Betty Edman
Judge and Mrs. S. J. Elden
Stefan S. and Ruth S. Fajans
EUy and Harvey Falit
Dr. and Mrs. James L.M. Ferrara
Sidney and Jean Fine
Carol Finerman
Jason I. Fox
Professor and Mrs. David M. Gates
Beverly Gershowitz
William and Sally Goshorn
Amy and Glenn Gottfried
Mr. and Mrs. Robert C. Graham
Dr. John and Renee M. Greden
Bob and Jane Grover
David and Kay Gugala
Don P. Haemer and Cynthia J. Stewart
Helen C. Hall
Yoshiko Hamano
Mr. and Mrs. Elmer F. Hamel
Susan Harris
Sivana Heller
Mrs. W.A. Hiltner
Sun-Chien and Betty Hsiao
Mrs. V. C. Hubbs
Ann D. Hungerman
Eileen and Saul Hymans
Jean Jacobson
Dr. and Mrs. David W. Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Marilyn G. Jeffs
Lester Johns
John B. and Joanne Kennard
Hermine R. Klingler
Michael J. Kondziolka and
Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. Melvyn and Mrs. Linda Korobkin Bert and Geraldine Kruse Bud and Justine Kulka Neal and Ann Laurance John K. and Jeanine Lawrence Laurie and Robert LaZebnik Jim and Cathy Leonard Richard LeSueur Julie M. Loftin E. Daniel and Kay Long Richard and Stephanie Lord Brigitte and Paul Maassen Griff and Pat McDonald Deborah and Michael Mahoney Catherine and Edwin L. Marcus Ann W. Martin and Russ Larson Carole Mayer Bernice and Herman Merte
Benefactors, cant.
Henry D. Messer -
Carl A. House
Kathryn and Bertley Moberg Cyril Moscow Todd Mundt
Gerry and Joanne Navarre Dr. Marylen S. Oberman Dr. and
Mrs. Frederick C. O'Dell Robert and Elizabeth Oneal Constance and David Osier Wallace and Barbara Prince Lcland and
Elizabeth Quackenbush Margaret Jane Radin Mrs. Joseph S. Radom Jeanne Raisler and Jon Cohn Ms. Claudia Rast Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Mamie Reid and Family Jay and Machree Robinson Jonathan and Anala Rodgers John J. H. Schwarz Edward and Kathy Silver Carl P. Simon and Bobbi Low Frances U. and
Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar James Skupski and
Dianne Widzinski Donald C. and Jean M. Smith Dr. Hildreth H. Spencer Neela Sripathi David and Ann Staiger Bert and Vickie Steck James C. Steward Cynthia Straub Maryanne Telese Elizabeth H. Thieme Catherine Thoburn Merlin and Louise Townley Jeff and Lisa Tulin-Silver William C. Tyler Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Elly Wagner Jack Wagoner, M.D. Don and Toni Walker Robert D. and Liina M. Wallin Robin and Harvey Wax John M. Weber Deborah Webster and
George Miller Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Dr. Steven W. Werns Reverend Francis E. Williams Mayer and Joan Zald
Michael and Marilyn Agin Roger Albin and
Nili Tannenbaum Helen and David Aminoff Harlene and Henry Appelman
Mr. and
Mrs. Arthur J. Ashe III Dan and Monica Atkins Reg and Pat Baker Paulett Banks lohn and Ginny Bareham David and Monika Barera Lois and David Baru Francis I. and
Lindsay Bateman Mrs. Jcre M.Bauer Gary Beckman and
Karla Taylor Professor and Mrs. Erling
Blondal Bengtsson Linda and Ronald Benson Joan and Rodney Bentz Dr. Rosemary R. Bcrardi Steven J. Bernstein and
Maria Herrero Jack Billi and Sheryl Hirsch llenc and William Birge Dr. and Mrs. Ronald
Bogdasarian Victoria C. Botek and
William M. Edwards Mr. and Mrs. Richard Boyce William R. Brashear Trudy and Jonathan Bulkley Frank and Kathy Cambria Valerie and Brent Carey Tsun and Siu Ying Chang Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Dr. and Mrs. Harvey Colbert Theodore and Sandra Cole Edward J. and Anne M. Comeau Lloyd and Lois Crabtree Mr. Michael J. and
Dr. Joan S. Crawford Merle and Mary Ann
Mary R. and John G. Curtis Marcia A. Dalbey Sunil and Merial Das Art and Lyn Powrie Davidge Ed and 1 IlkDavidson Ha! and Ann Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Judy and Steve Dobson Cynthia Dodd Heather and Stuart Dombey Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Elizabeth Duell Aaron Dworkin Dr. Alan S. Eiser Dr. Stewart Epstein John W. Etsweiler III Phil and Phyllis Fctlin Dr. James F. Filgas Susan FilipiakSwing City
Dance Studio
Herschel and Adriennc Fink C. Peter and Beverly Fischer Susan Fisher and John Waidley Jessica Fogel and
Lawrence Weiner Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Renee Frost
Lela J. Fuester
Mr. and Mrs. William Fulton
Harriet and Daniel Fusfeld
Ms. Patricia Garcia
Tom Gasloli
Deborah and Henry Gerst
Beth Genne and Allan Gibbard
Elmer G. Gilbert and
Lois M. Verbrugge Zita and Wayne Gillis Joyce Ginsberg Richard and Cheryl Ginsberg Maureen and David Ginsburg Irwin Goldstein and
Martha Mayo Enid M. Gosling Charles and Janet Goss lames W. and Maria J. Gousseff Helen M. Graves Mr. and Mrs. Saul A. Green Ingrid and Sam Gregg Ann H. and
G. Robinson Gregory Raymond and Daphne M. Grew Mark and Susan Griffin Werner H. Grille Ken and Margaret Guire Michio Peter and
Anne Hagiwara Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Jeannine and Gary Hayden f. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Lee Hess
Herb and Dee Hildebrandt fames Hilton Peter Hinman and
Elizabeth Young Mabelle Hsueh Harry and Ruth Huff fane H. Hughes Robert B. Ingling Beverly P. Jahn Elizabeth E. Jahn Christopher P. and
Sharon Johnson Elizabeth Judson Johnson Paul and Olga Johnson Dr. and
Mrs. Mark S. Kaminski Arthur A. Kasetemas AllanS. Kaufman, MD Evan Cohen and
Deborah Keller-Cohen Frank and Patricia Kennedy George L. Kenyon and
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Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Erling Bengtsson, Cello Yehonatan Berick, Violin Lucia Campbell, Soprano William Campbell, Trumpet Soren Hermansson, Horn
Martin Katz, Piano Nancy Ambrose King, Oboe Fred Ormand, Clarinet Carmen Pelton, Soprano
Zoltdn Koddly
Franz Schubert
Johann Vierdauck
Alessandro Scarlatti
Carl Reinecke
Sunday Afternoon, February 13, 2005 at 4:00 Rackham Auditorium Ann Arbor
Duo for Violin and Cello, Op. 7
Allegro serioso, non troppo
Maestoso e largamente Presto
Mr. Berick and Mr. Bengtsson
Der Hirt auf dem Felsen, D. 965
Ms. Pelton, Mr. Ormand, Mr. Katz
Capriccio I and II
Mr. Campbell and Ms. King
Three Arias
In terra la guerra
Vieni, vieni o mio diletto
Si riscaldi il Tebro
Ms. Campbell, Mr. Campbell, Mr. Katz
Trio for Piano, Horn and Oboe in a minor, Op. 188
Allegro moderato
Molto vivace
Allegro ma non troppo
Ms. King, Mr. Hermansson, Mr. Katz
44th Performance of the 126th Annual Season
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
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.
Duo for Violin and Cello, Op. 7
Zoltan Kodaly
Born December 16, 1862 in Kecskemet, Hungary
Died March 6, 1967 in Budapest
Der Hirt auf dem Felsen, D. 965
Franz Schubert
Born January 31, 1797 in Vienna
Died November 19, 1828 in Vienna
Anna Milder-Hauptmann (1785-1838) was one of the leading sopranos of her day. At a very young age she had attracted the attention of Emanuel Schikaneder the impresario and friend of Mozart's, who studied with Salieri and Tomaselli, and joined the roster of the Court Opera. Beethoven wrote the role of Leonora in Fidelio for Milder-Hauptmann in 1805, and her fame grew with highly acclaimed tours in northern Europe during the following years.
Schubert's earliest exposure to Milder-Hauptmann's artistry came in 1812, while he was still a music student at the imperial choir school. So moved was he by her singing that he almost came to blows with a university profes?sor who expressed an opposing view. Sometime before she left for Berlin, she and Schubert became friends, and they occasionally corre?sponded during the following years. Early in 1825, she asked him if he had any operas that she could propose for production in Berlin. Schubert promptly sent her the score for Alfonso und Estrella, and, in appreciation of her interest, dedicated to her his new song "Suleika II" After she had performed "Suleika" and the "Erlksnig" on a Berlin recital, she replied, "'Suleika's Second Song' is heavenly and moves me to tears.... However many songs you may want to dedicate to me, this can only be most agreeable and flattering to me."
In 1828, Anna requested from Schubert a bravura concert piece for her recitals. Out of regard for her encouragement and her artistry, and with the hope that she might help his ges-tating opera, Der Graf von Gleichen, onto the stage, he created for her the delightful song
"Der Hirt auf dcm Fehen" (The Shepherd on the Rock). The text, a conflation of verses by Wilhelm Miiller and Wilhelmina Christiane von Chezy, concerns the longing of a shepherd boy for his lady love and the welcome arrival of spring. Schubert included a part for clarinet, giving this song something of the quality of a vest-pocket operatic scena in which the agility and limpid sonority of the instrument serve as foil and collegial challenge for the voice. Schubert finished Der Hirt auf dem Felsen in October 1828, but Milder-Hauptmann did not receive a copy of the song until the following September. She premiered the work at Riga in March 1830, and thereafter included it fre?quently on her recitals. Tobias Haslinger of Vienna published the score in June as Schubert's Op. 129. The composer, however, was never to hear it performed: "Der Hirt auf dem Felsen" elegant, brilliant, touching, and bursting with melody, was the last of Schubert's more than 600 songs. On November 19, a month after writing it, he died.
Capriccio I and II
Johann Vierdanck
Born ca. 1605 in Germany
Died [buried] April 1, 1646 in Stralsund, Germany
Three Arias
Alessandro Scarlatti
Born May 2, 1660 in Palermo, Italy
Died October 22, 1725 in Naples
Trio for Piano, Horn and Oboe in a minor, Op. 188
Carl Reinecke
Bom June 23, 1824 in Altona, Germany
Died March 10, 1910 in Leipzig
Der Hirt auf dem Felsen, D. 965 (The Shepherd on the Rock, D. 965)
Franz Schubert
(Wilhelm Muller with verses 5 and 6 by Wilhelmina Christiane von Chezy)
Wenn auf dem hochsten Fels ich steh', In's tiefe Tal hernieder seh', Und singe.
Fern aus dem tiefen dunkeln Tal Schwingt sich empor der Widerhall Der Kliifte.
Je weiter meine Stimme dringt, Je heller sie mir wieder klingt Von unten.
Mein Liebchen wohnt so weit von mir, Drum sehn' ich mich so heifi nach ihr Hinuber.
In tiefem Gram verzehr ich mich, Mir ist die Freude hin, Auf Erden mir die Hoffnung wich, Ich hier so einsam bin.
So sehnend klang im Wald das Lied, So sehnend klang es durch die Nacht, Die Herzen es zum Himmel zieht Mit wunderbarer Macht.
Der Friihling will kommen, Der Friihling, meine Freud', Nun mach' ich mich fertig Zum Wandern bereit.
When, from the highest rock up here, Down to the valley deep I peer, And sing.
Far from the valley dark and deep Echoes rush through, in upward sweep, The chasm.
The farther that my voice resounds, So much the brighter it rebounds From under.
My sweetheart dwells so far from me, I hotly long with her to be O'er yonder.
I am consumed in misery, I have no use for cheer, Hope has on earth eluded me, I am so lonesome here.
So longingly did sound the song, So longingly through wood and night, Towards heav'n it draws all hearts along With unsuspected might.
The Springtime is coming, The Springtime, my cheer, Now must I make ready On wanderings to fare.
Three Arias Alessandro Scarlatti
In terra la guerra sen voli fugace. Ci porti conforti dai poli la pace.
Vieni, vieni, o mio diletto, che il mio
cor e tutto affetto, Gia t'aspetta, e ognor ti chiama. II mio core tutto affetto gia t'aspetta E gia ti chiama.
Si riscaldi il Tebro e l'onda de suoi
flutti al mormorar. Canti a lui lodi d'amor. Vezzosetta poi risponda questi cantici d'onor Delle aurette al sussurar.
There is ferocious war fought in the land. May peace and comfort be brought to us from distant shores.
Come, my beloved my heart is
all affection for you, I call you and wait for you. My heart is all affection for you, I call you And wait for you.
The Tiber's warm waves
murmur forth. You sing songs of love.
You are answered with faithful whispered hymns from the dawn.
Erling Bengtsson (Cello) came to the University of Michigan following a distinguished teaching and performing career in Europe. He began cello studies at age three with his father in Copenhagen and subsequently became a student of Gregor Piatigorsky at the Curtis Institute of Music, where he joined the faculty immediately upon gradua?tion. He later returned to his native Denmark as professor at the Royal Danish Conservatory of Music, serving for 37 years. He has given countless master classes throughout Scandinavia, England, the US, and at the Tibor Varga Festival in Sion, Switzerland. Mr. Bengtsson made his first concert appearance at age four and debuted as orchestral soloist at 10. Since then he has performed as soloist with ensembles including the Royal Philharmonic, the BBC, English Chamber Orchestra, Detroit Symphony Orchestra, Gulbenkian Orchestra (Lisbon), and the Czech Philharmonic. He has made more than 50 record?ings. In 1998 his recording of the Koddly solo Cello Sonata was chosen by the Guinness Classical 1000 as among the top 1000 recordings of all time. In 1993 he was awarded the title of Chevalier du Violoncelle by the Eva Janzer Memorial Cello Center of the School of Music of Indiana University. In 2001, he received the Manchester (England) International Cello Festival's "Award of Distinction," the greatest honor internationally to be bestowed on a cellist.
This afternoon's performance marks Erling Bengtsson's 13th appearance under VMS auspices.
A prizewinner at the 1993 Naumburg competi?tion, and a recipient of the 1996-97 Prix Opus, Yehonatan Berick (Violin) is in high demand internationally as soloist, recitalist, chamber musi?cian (on violin as well as on viola), and pedagogue. He has performed with the Quebec, Windsor, Jerusalem, and Haifa Symphonies; and the Israeli, Cincinnati, Montreal, and Manitoba Chamber Orchestras. He has collaborated in chamber music performances with such pianists as Stephen Prutsman and Michael Chertock, David Soyer and Michael Tree of the Guarneri Quartet, cellists Peter Wiley and Stephen Isserlis, clarinetists Wolfgang Meyer and James Campbell, and flutist Julius Baker. Mr. Berick's many festival credits include Marlboro, Ravinia, Seattle, Vancouver, Ottawa, and Jerusalem. Touring as a chamber musician with Musicians from Marlboro, The Lortie-Berick-I.ysy Piano Trio, and the Huberman String Quartet. On
CD, Mr. Berick has recorded for the Summit, Gasparo, Acoma, JMC, and Helicon labels. Previously he has held the position of Professor of Violin at McGill University, as well as Visiting Professor of Violin at the Eastman School of Music. He has been invited as teacher and Artist-in-Residence at the Bowdoin Music Festival (Maine), Keshet Eilon Mastercourse (Israel), and at the JMC Young Players' Unit (Israel).
This afternoon's performance marks Yehonatan Berkk's third appearance under UMS auspices.
William Campbell (Trumpet) is the Associate Professor of Trumpet at the University of Michigan. He joined the faculty in the fall of 2000 after serving on the faculties at The Ohio State University and the University of Kansas. Prior to his positions as trumpet professor, Mr. Campbell performed for seven years as principal trumpet with the Orchestra del Maggio Musicale Fiorentino in Florence Italy, conducted by Zubin Mehta. While in Italy, Mr. Campbell also performed as soloist with Mr. Mehta, toured five continents, and played on numerous recordings. Mr. Campbell has also performed as principal trumpet with the Chicago Symphony Orchestra, the St. Louis Symphony Orchestra, the Columbus Symphony Orchestra, and the Rochester Philharmonic Orchestra. Mr. Campbell has performed with such conductors as George Solti, Ricardo Chailly, Charles Dutoit, Christopher Hogwood, Leonard Slatkin, and Carlo Maria Giulini. Mr. Campbell, a Bach Artist, has appeared as guest artist at the International Brass Festival in San Jose, Costa Rica. In the summers, Mr. Campbell teaches and performs as principal trumpet at the Brevard Music Center. He holds bachelors and masters degrees and a performer's certificate in trumpet from the Eastman School of Music, where he was a soloist with the Eastman Wind Ensemble, con?ducted by Donald Hunsburger.
This afternoon's performance marks William Campbell's third appearance under UMS auspices.
Stiren Hermansson (Horn) is internationally known as a performer and recording artist. He has been highly active as an ensemble performer, first as member of Norrkoping Symphony Orchestra and Gothenburg Symphony Orchestra (Neeme Jarvi, conductor). Since 1988 he has devoted his time to a solo career and teaching. He has per?formed with many orchestras in Sweden, Finland,
Denmark, England, and in the US. As a chamber musician, he has performed in France, Germany, Switzerland, Netherlands, Schandinavia, the US, and Brazil. He has commissioned and premiered new repertory for horn, much of which is includ?ed on recordings that he has made to wide critical acclaim. Before joining the University of Michigan faculty in 1999, Mr. Hermansson was a faculty member at the Ingesund College of Music and at the School of Music, Gothenburg University, in Sweden. He has also taught as a visiting artist at the Royal University College of Music in Stockholm, and was Artist-in-Residence, guest professor, at the University of Wisconsin in 1993. Mr. Hermansson has taught and performed dur?ing international summer courses in Sweden, Finland, Switzerland, France, Estonia, and in Banff, Canada. Since 1997 he has taught summers at Curso Internacional de Verao, at Escola de Musica de Brasilia, Brazil.
This afternoons performance marks Sb'ren Hermansson's fifth appearance under UMS auspices.
Martin Katz (Piano) dubbed "dean of accompa?nists" by The Los Angeles Times, was the 1998 recipient of Musical America's "Accompanist of the Year" award. He regularly collaborates in recitals and on recordings with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, David Daniels, and Jose Carreras. Highlights of Mr. Katz's more than 30 years of concertizing with the world's most cel?ebrated vocal soloists include innumerable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan, and per?formances at La Scala, the Paris Opera, and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, EMI, Phillips, and Decca labels. The Metropolitan, Houston, and Ottawa operas have performed his editions of Baroque and bel canto operas of Handel, Vivaldi, and Rossini. At the University of Michigan, in addition to instruction in ensemble for pianists, Mr. Katz coaches singers, teaches vocal repertory, and is a frequent conduc?tor of the School's opera productions. He is the Artur Schnabel Collegiate Professor of Music.
This afternoon's performance marks Martin Katz's 29th appearance under UMS auspices.
Since coming to international attention at the Aldeburgh Festival in England where she was cast as Fiordiligi in Mozart's Cosifan tutte by Sir Peter Pears, Carmen Pelton (Soprano) has appeared in a wide range of works with the San Francisco Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, Scottish Opera, Goodman Theater in Chicago, the Smithsonian's 20th-century Consort, the New York Festival of Song, and a performance for the President of the United States at the televised Kennedy Center Honors Program. Ms. Pelton is featured in the recently released Grammy-winning ("Best Classical Album," "Best Choral Album") Telarc recording of Barber's Prayers of Kierkegaard and Vaughn Williams' Dona Nobis Pacem with the Atlanta Symphony and Robert Shaw. Her performances this season included the premiere of Justice, an opera by Roger Reynolds commissioned by the Library of Congress, debuts with Houston Symphony, the Boulder Bach Festival, and con?certs with violinist Sergio Luca's chamber group Context. Her performance of Poulenc's Gloria with the Choral Arts Society of Washington was nationally broadcast on NPR. Ms. Pelton received her education at the University of Wisconsin at Madison and at the Eastman School of Music, where she was a student of Jan DeGaetani. In the summer months she has been a faculty member and performing artist at the Aspen and Brevard Music Festivals.
77ii5 afternoon's performance marks Carmen Pelton's third appearance under VMS auspices.

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