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UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --

UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - 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Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image UMS Concert Program, : University Musical Society: Winter 2005 - Wednesday Apr. 13 To 28 --  image
Day
13
Month
April
Year
2005
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Rights Held By
University Musical Society
OCR Text

Season: WINTER 2005
University Of Michigan, Ann Arbor

ums
WINTER 2005 SEASON
UNIVERSITY MUSICAL SOCIETY
Of HE UNIVERSITY Of MICHIGAN I 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 General Information Tickets
21 www.ums.org
UMSannals 23 24 25 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMS experience 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 Coven Lorin Maazel (Chris Leel, Engraving of A Midsummer Night's Dream, Malouma Back Cover Anne-Sophie Mutter, Robert Lepage's The Far Side of the Moon, DJ Spooky, Soweto Gospel Choir
FROM THE U-M PRESIDENT
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
FROM THE UMS PRESIDENT
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. I 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. 1 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 kenfisch@umich.edu.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
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 Night's 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 S25 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 Rosen thai
Chair, UMS Board of Directors
leadership
CORPORATE LEADERS FOUNDATIONS
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
S50.000-99.999
Anonymous
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
$1,000-9,999 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
Sarns Ann Arbor Fund Vibrant of Ann Arbor
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. Allemang,
Treasurer
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
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow 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. Hann 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
ADVISORY COMMITTEE
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baelzel Paulett M. Banks Milli Baranowski Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey
Icannine 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 Jean Kluge Jill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Swanna Saltiel Icri Sawall
Penny Schreiber Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasserman Wendy Woods Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President iohn B. Kennard, Jr., Director of
Administration
Patricia Hayes, Senior Accountant Iohn 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
Development
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of the
Annual Fund and Membership Marnie 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
Manager
MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProductionProgramming
Michael J. Kondziolka, Director Emily Avers, Production Operations
Director
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
Work-Study
Kara AJfano 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
Interns
Kristen Armstrong Steve Hall David Wilson
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Lori Atwood Robin Bailey )oe 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
S 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.
Parking
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
Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
If you have a blue or gold U-M permit with the gate controlled access feature, please consider using the new structure that has opened off of Palmer Drive! There is a light at this intersection of Palmer and Washtenaw, making it easier to access the structure, and we expect there to be less traffic through that entrance. ONLY for U-M employees with bluegold permits and AVI access. There will not be an attendant for visitor parking at that entrance.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State. About a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday.
For up-to-date parking information, please visit www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
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
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.
Retums
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 rickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may tax a photocopy of your torn tickets to 73447.1171.
Non-subscribers may exchange tickets for a $3-pei-licket 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 umsgroupsales@umich.edu.
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.
J
WWW.UMS.ORG
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
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.
UMSannals
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 aits 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 os in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live aits.
UMS grew from a group of local unhwHty and townspeople who gathered together for the study off Handefc Afceaofc. itA by ProfeHor Henry Somniioais frieze and conducted by Professor Odhriki Odji the group awnmed the name He Oussmd UWion, Their fost perfonn-
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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 recitalwt 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,
nuMkming of new work, 7011th programs artist residencies, and other cwflaborat w pHsji-ecu, UMS has maintained its reputation for quality, artistic distinction and iwfflswstiww, L'MS now hosts wsr 70 perfonwaroMs; and more than 150 educational events sd ssassw, UMS has flourished with the support of ?m erous aHunrnnity that dm year ptih&s in sm difibent Am Arbor wooes.
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UMS CHORAL UNION
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 theater 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 choralunion@umich.edu or call 734.763.8997.
VENUES & BURTON MEMORIAL TOWER Hill Auditorium
Rfter 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 plendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance jlaza, the reworking of the west barrier-free amp 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-on by providing elevators and an addition with amps, the replacement of seating to increase atron comfort, introduction of barrier-free eating and stage access, the replacement of the-trical performance and audio-visual systems, nd the complete replacement of mechanical nd electrical infrastructure systems for heating, entilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium eats 3,575.
Power Center
rhe Power Center for the Performing Arts grew out of a realization that the University f Michigan had no adequate proscenium-stage neater for the performing arts. Hill Auditorium ras too massive and technically limited for most productions, and the Lydia Mendelssohn heatre was too small. The Power Center was built to supply this missing link in design and ?eating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major jft to the University, and amidst a list of University priorities "a new theater" was men-ioned. 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 water 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 the University Productions Ticket Office. Due to this 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.
ums
s of the University of Michigan, Ann Arbor
Winter 2005
Event Program Book Wednesday, April 13 through Thursday, April 28, 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.
Chamber Orchestra of Philadelphia 5
Wednesday, April 13, 8:00 pm Hill Auditorium
La Capella Reial de Catalunya and 13
Le Concert des Nations
Thursday, April 14, 8:00 pm
St. Francis of Assisi Catholic Church
Dame Felicity Lott and 19
Angelika Kirch sen lager
Wednesday, April 20, 8:00 pm Lydia Mendelssohn Theatre
John Scofield Trio 27
Brad Mehldau Trio
Thursday, April 21, 8:00 pm Michigan Theater
Jerusalem Quartet 31
Thursday, April 28, 8:00 pm Rackham Auditorium
Dear UMS Ticket Buyer,
Ppril is always an exciting time to work for UMS. The whirlwind of activity leading up to the end of the season is exhausting, but the last month of the season always holds some of the year's most wonderful and memorable events. And, of course, we're simultaneously readying ourselves for the next season, preparing subscription renewals and season brochures while learning about a whole new roster of artists and repertoire.
The 0506 UMS season our 127th will be posted on our website and announced in local newspapers by Monday, April 18. Brochures and renewal forms will be mailed to current subscribers the first week in May and to single-ticket buyers by mid-May.
Each season has its own special focuses, and the 127th is no different. Stay tuned over the coming months as you hear more detail about the programmatic themes on our various series, including concerts celebrating Shostakovich's 100th birthday and Mozart's 250th, and a cycle devoted to African performance. We will continue to offer fixed packages those where we've made the programmatic choices for you and a Monogram Series, where you can act as programming director and curate your own series. And all subscribers will receive priority for an event that is sure to be a sellout: a special appearance by the Vienna Philharmonic with Riccardo Muti conducting on Thursday, March 9. We have been holding this Ann Arbor date with their management for several years, knowing that the Vienna Philharmonic deserves to be heard in the acoustical splendor of Hill Auditorium. The orchestra will only appear in five US cities (Ann Arbor, New York, Cleveland, Champagne-Urbana, and Houston).
I hope that you will join us again next season for a series of events that meet your individual needs. The arts are a potent antidote that soothes the soul and provides new meaning in increasingly frenetic and busy lives. I hope that UMS will create meaning in yours this coming year.
Sincerely,
Sara Billmann
UMS Director of Marketing and Public Relation
UMS Educational EVentS through Thursday, April 28, 2005
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. Please visit www.ums.orgor complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail umsed@umich.edu.
Felicity Lott Angelika Kirchschlager
Lecture: The Song Recital, A Living Art Form Led by Richard LeSueur, Music Specialist, Ann Arbor District Library
Ann Arbor District Library Music Specialist Richard LeSueur introduces the songs which will be featured on the program of Ms. Lott and Ms. Kirchschlager's recital. Information and recordings about the songs, their composers, and the poets whose words inspired the compositions will be discussed. Sunday, April 17, 3:00-4:30 pm, Ann Arbor District Library, Downtown Branch, Basement Level, 343 S. Fifth Avenue
UMS
and
TIAA-CREF
present
Chamber Orchestra of Philadelphia
Ignat Solzhenitsyn, Conductor and Pianist
Wednesday Evening, April 13, 2005 at 8:00 Hill Auditorium Ann Arbor
tMusic ofLudwig van Beethoven
Coriolan Overture, Op. 62
Piano Concerto No. 5 in E-flat Major, Op. 73
Allegro
Adagio un poco mosso -
Rondo: Allegro, ma non troppo
Mr. Solzhenitsyn INTERMISSION
Symphony No. 4 in B-flat Major, Op. 60
Adagio Allegro vivace Adagio
Menuetto (Allegro vivace) Trio (Un poco meno allegro) Scherzo da capo Trio Tempo I Allegro ma non troppo
67th 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 photo?graphing or sound record?ing is prohibited.
This performance and tonight's pre-concert Camerata Dinner are sponsored by TIAA-CREF.
Media partnership for this performance is provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Steven Whiting and the U-M School of Music for their participation in this residency.
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 Kathleen Beck for her performance of the pre-concert music on the Charles Baird Carillon.
Chamber Orchestra of Philadelphia appears by arrangement with Arts Management Group, Inc.
Large print programs are available upon request.
Coriolan Overture, Op. 62
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn,
Germany Died March 26, 1827 in Vienna
Of all the heroes Beethoven ever wrote music about, Coriolanus is the most deeply flawed personality. Prometheus, Leonore, and Egmont all represent the highest ideals of courage, self?lessness, and love of freedom. The hero of Symphony No. 3 is either an idealized Bonaparte, the exalted leading spirit of the French Revolution, or an unnamed Great Man of perfect character. It seems that Beethoven was not interested in portraying heroism gone awry, or in dealing with the often tragic dilem?mas inherent in securing or maintaining power. The day Bonaparte had himself crowned Emperor, he could no longer be the protagonist of the "Eroica."
Coriolanus is an exception. This enigmatic Roman general, who lived, tradition has it, in the fifth century B.C., was at once a hero and a villain, a triumphant warlord and a vile traitor. His life is known from Plutarch's Lives of the Noble Grecians and Romans, the source used by Shakespeare for his tragedy Coriolanus. Beethoven's overture, however, was not written for Shakespeare's tragedy; instead, its immedi?ate inspiration was a contemporary Viennese adaptation by Heinrich Joseph von Collin, a poet and secretary at the Imperial Court. It was, however, not performed with that play, except on a single occasion, to which we shall return in a moment. It was more a reaction to Collin's work than an introduction to it.
Collin's tragedy was first performed at the court theater in 1802, five years before Beethoven composed the overture. The music at that time had been arranged from Mozart's Idomeneo by Abb6 Stadler, a colorful personali?ty in Viennese musical life at the time. The title role was played with great success by Joseph Lange, who was a brother-in-law of Mozart.
The story of Coriolanus concerns the son of a prominent Roman family, Gaius Marcius, who led the Roman army in a victorious battle
against the Volscians and captured their city of Corioli (thence his honorary name Coriolanus). Upon his return to Rome, he became embroiled in domestic disputes and alienated both the population and the senate to such a degree that he was sent into exile. Angry and revengeful, he went to the Volscians, swore allegiance to them and led them against Rome. His implacable wrath was calmed only when his mother and his wife came to plead with him before the walls of Rome. He finally withdrew his forces. In Plutarch's and Shakespeare's versions, Coriolanus was slain by the disappointed Volscians; in Collin's drama, however, he com?mitted suicide.
In his biography of Beethoven, first pub?lished in 1912 but still remarkably fresh and informative, Paul Bekker made an interesting comparison between Shakespeare's and Collin's versions of Coriolanus. "Collin's...drama is not an adaptation of Shakespeare's drama, but an independent rendering of Plutarch's story." And we learn from another source that the court secretary had never read Shakespeare's tragedy. Bekker continued his analysis:
Shakespeare presents the tragedy of a towering personality who "drank hatred of mankind out of the fullness of love." ...Collin lacks the wide outlook, the penetrating imagery of Shakespeare. Painstaking, rhetorical pathos is his medium of expression, and his drama is no human or personal tragedy but a philosophical debate.... Coriolanus himself is a passive, reflective personality. His greatness is not exemplified in the action; it is mutely postulated, and he always acts according to his convictions.
Beethoven, for his part, did know both Plutarch and Shakespeare, and this knowledge certainly colored his approach to the figure of Coriolanus. His Coriolanus is certainly not a rhetorical figure but a highly dramatic one. This circumstance has led several commenta?tors, including Richard Wagner, to believe that the music was directly related to Shakespeare;
others asserted and they may be right that after all, the overture has more to do with Shakespeare than with Collin, regardless of the surface story of the work's genesis.
The key of the overture, c minor, is the one in which some of Beethoven's most dra?matic works, such as the "Pathetique" piano sonata and Symphony No. 5, were written. The startling dissonances and sudden general rests that open the overture are unique even by Beethovenian standards. Strong sforzatos (off?beat accents), syncopations, and the frequent use of the dissonant diminished seventh chord create a high level of dramatic tension from beginning to end, except for the two occur?rences of a lyrical second subject that probably represented the women pleading with Coriolanus before the gates of Rome. The work follows the principles of sonata form (exposi?tion, development, and recapitulation), with an extended coda, at the end of which the first notes of the opening theme are repeated a number of times, ever softer and in longer and longer note values. This gradual "dying away" of the music unmistakably represents the death of Coriolanus, and ensures that the ending of the overture is every bit as extraordinary as its opening.
Piano Concerto No. 5 in E-flat Major, Op. 73
Beethoven
One of the most grandiose works written in Beethoven's so-called "heroic style" is his Piano Concerto No. 5, known in the English-speaking countries as the "Emperor." The nickname is entirely justified even though it was not given by the composer himself.
There are several stories about how this concerto came to be called "The Emperor." According to one, a French soldier from Napoleon's army occupying Vienna, jumped to his feet after hearing the work and exclaimed: "L'empereur!" He may have been impressed by the concerto's majestic proportions, or else he was reminded of French revolutionary marches
by certain themes in the work. In either case, he was right on target, as a soldier should be.
The great musicologist Alfred Einstein (Albert's cousin) wrote an interesting study on "Beethoven's Military Style," a style present in most of Beethoven's concertos. Beethoven adopted it from Giovanni Battista Viotti, a Parisian composer of Italian birth (1755-1824) known mainly for his violin concertos. Einstein found this "military style" "unmistakable":
One may characterize it as an idealized quickstep: rapid 44 time, progressing boldly with growing intensity, with dot?ted eighth-notes and up-beat patterns, with ever-pulsating rhythm although above this rhythm some cantabile, "feminine" melodies hover, and triplets and virtuoso figurations soar upward.
The main theme of the "Emperor" Concerto's first movement is entirely consistent with this description. It appears after a most extraordinary opening, in which a brilliant piano cadenza (not to be improvised but fully written out) is punctuated by orchestral chords that outline the most familiar of all harmonic progressions (I-IV-V-I). The orchestral exposi?tion that follows abounds in "military" dotted-eighth patterns; after the piano re-enters, how?ever, these models are soon transcended as one of the themes receives an entirely new character. The second theme, originally all rhythm and angularity, is transformed into a continuous, smooth eighth-note motion played in the piano's highest register and in a distant tonality. The accompaniment consists of one clarinet, one bassoon, one cello, and occasional double-bass pizzicatos (plucked notes). It is a short moment of great mystery, cut short by an abrupt return to the initial form of the theme.
The piano writing is more brilliant than in any of the earlier concertos; it includes in the development section alone virtuosic 16th-note passages in both hands simultaneously, dashing octave runs, and expressive melodic motifs, often in very close succession. The reca?pitulation, which begins with a somewhat shorter replay of the opening piano cadenza,
has another, even more stunning, cadenza (or is it one) at the end. At the point where a strong?ly emphasized cadential chord announces that it is time for the cadenza, the piano launches into a cascade of figurations and trills. But con?trary to tradition, what we hear is not an ad-libitum interpolation that can be improvised or written out by the performer. This becomes clear as soon as two horns quietly join the piano, followed by other instruments. In fact, Beethoven's instruction in the score, written in Italian, the international language of music at the time, reads: Non si fa una Cadenza, ma s'at-tacca subito il seguente (There is no cadenza; instead, proceed directly with the following). Beethoven in this work assumed such total con?trol over every aspect of the composition that it became impossible to leave anything to chance. Ultimately, however, this non-cadenza does ful?fill the formal function of the traditional cadenza; it allows the performer to display her or his technical prowess, in a bravura section built upon some of the movement's most important themes.
The second movement opens with a chorale-like melody played by muted strings; the tonality is the same distant B Major that has already been touched upon in the first movement. The piano responds to the chorale with an expressive second theme that moves faster than the orchestra's chorale (though still in even note values). The two motions are then combined as the chorale melody is taken over by the piano (the strings play along pizzicato), its slow quarter-notes accompanied by the faster triplets derived from the second theme. After a further variation where the motion intensifies (the triplets replaced by faster 16th-notes), the music comes to a halt on the note 'B.' Beethoven simply lowers this note by a half-step to 'B flat," to prepare the return of E-flat Major in the last movement.
There is no pause between the second and third movements; in fact, the continuity is assured through the appearance of the finale theme in a slow tempo at the end of the second movement. The piano hesitatingly plays two measures of ascending E-flat Major harmonies
amidst an atmosphere of suspense, followed immediately by an exuberant restatement of the same material as the main theme of the finale.
This glorious "Rondo" theme is intro?duced by the piano accompanied only by a pedal note in the two horns. The melody is then repeated by the full orchestra. The central episode of the "Rondo" takes on the character?istics of a sonata development: the main theme is taken to various distant tonalities before returning triumphantly to the home key. In the coda, the piano part grows ever slower and qui?eter, with only the timpani as accompaniment. Having reached adagio, the tempo suddenly accelerates again and the work ends abruptly with a few energetic E-flat Major sonorities.
Symphony No. 4 in B-flat Major, Op. 60
Beethoven
1806 was one of the most prolific years in Beethoven's life. It was then that he completed his three Razumovsky quartets, the Piano Concerto No. 4, Symphony No. 4, and the Violin Concerto. He also started work on what would later become Symphony No. 5 (actually, the c-minor work had been begun first, and then laid aside in favor of the symphony in B-flat Major).
Symphony No. 4 has traditionally been seen as a kind of respite between the "Eroica" and Symphony No. 5, two mighty works, in accordance with the old theory that opposed the dramatic "odd-numbered" symphonies to the more lyrical "even-numbered" ones.
As an experiment, let us forget this theory for a moment. We will then find that Symphony No. 4 is animated by the same incessant flow of energy and the same irresistible pull to move ahead as its more tempestuous companions. It is just as perfect a representative of the "heroic period" as any other work. The emotions expressed may be lighter and less tragic, but they are expressed with the same force throughout.
The slow introduction to the first move?ment is certainly one of the most suspenseful Beethoven ever wrote. The idea of starting a B-flat-Major symphony with a slow-moving uni?son theme in B-flat minor may have come from Haydn's Symphony No. 98 but the polarity is much greater in Beethoven, whose introduction is full of a sense of mystery that was entirely new in music. One finds it hard to believe that Haydn had written his London symphonies only a decade earlier and was still alive in 1806!
Slow introductions are usually linked to the subsequent allegros by means of some tran?sition that builds a bridge between the two tempos. In Beethoven's Symphony No. 4, there is a dear separation instead of a bridge. A dras?tic shift of keys and a sudden general rest bring the music to a virtual standstill before the ener?getic "Allegro vivace" is launched. Now there will hardly be a moment of pause until the end of the movement. The concise exposition begins with a brisk and vibrant theme, and even the more lyrical moments are full of motion and excitement.
The development section employs one of Beethoven's favorite musical techniques, name?ly thematic fragmentation. The first theme is "decomposed" almost to its atoms; for a while, it receives a new lyrical counter-melody that is, however, soon brushed aside by a tutti out?burst. The recapitulation is prepared by a long tremolo on the kettledrum, over which the strings gradually put the thematic "atoms" back together for the triumphant return of the theme.
The second movement is the only large-scale lyrical "Adagio" in a Beethoven symphony before Symphony No. 9. (The other sym?phonies' slow movements are all faster, with the exception of the Funeral March of No. 3.) In Symphony No. 4, Beethoven unfolds a beautiful cantabik (singing) theme over a characteristic rhythmic accompaniment that eventually rises to the status of a theme in its own right. The cantabik theme retums several times, in a more and mote ornamented form, its appearances separated by some rather powerful statements. The movement ends with a timpani solo fol?lowed by two concluding orchestral chords.
The third movement is a scherzo, although Beethoven didn't use that word as a title. The music abounds in playful elements such as sub?tle interplays of duple and triple meter, sudden modulations into distant tonalities, and a gen?eral mood of exuberant joy. The Trio moves in a slower tempo and has a simpler melody; it is based on the juxtaposition of the orchestra's wind and string sections. Beethoven added an interesting twist to the usual scherzo form here: he expanded on the standard form (Scherzo -Trio Scherzo) by means of a second appear?ance of the Trio and a third Scherzo statement (he was to do the same in Symphony No. 7).
The fourth-movement finale, marked "Allegro ma non troppo," begins with a theme in perpetual 16th-note motion; the flow of the 16th is only briefly interrupted by melodic episodes. This movement is light in tone and cheerful in spirit. Like the slow introduction to the first movement, the finale also shows how much Beethoven had learned from Haydn. But once again most of the music sounds like no one but Beethoven. The repeated and unre?solved dissonances at the end of the exposition (duly brought back in the recapitulation) sound rather close to a similar passage in the first movement of the "Eroica." Also, Haydn probably wouldn't have entrusted the return of the perpetual-motion theme to the solo bas?soon, in what is one of the most difficult pas?sages for the instrument in the classical reper?toire. In general, Haydn's cheerfulness has been stepped up to a state of near-euphoria. One feels that this music could go on ad infinitum, but it is suddenly cut short by a hesitant, slower rendition of the main theme in the violins, continued by the bassoons, and abruptly ended by a few energetic chords played by the whole orchestra.
Program notes by Peter Laid.
Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyri?cal and poignant interpretations have won him critical acclaim throughout the world.
Ignat Solzhenitsyn was recently appointed Music Director of the Chamber Orchestra of Philadelphia, having served as its Principal Conductor for the last six years. His recent guest soloists have included Mstislav Rostropovich, Sylvia McNair, Cho-Liang Lin, Steven Isserlis, Gary Graffman, Sergei Leiferkus, and Leila Josefowicz. Mr. Solzhenitsyn has led the Orchestra in numerous special projects, including Bach's St. John Passion and the complete Brandenburg Concern, Haydn's The Creation and Seven Last Words, and a rare complete per?formance of Gluck's Don Juan.
Mr. Solzhenitsyn has appeared as guest conductor with the sym?phonies of Dallas, Seattle, Indianapolis, North Carolina, New Jersey, Nashville, Toledo, Lexington, Delaware, Anchorage, Charleston, Flagstaff, and Vermont, as well as
many of the major orchestras in Russia includ?ing the St. Petersburg Philharmonic, the Moscow Philharmonic, the Urals Philharmonic, and the Kremlin Philharmonic.
In recent seasons, his extensive touring schedule in the US and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Saint Louis, Los Angeles, Seattle, Baltimore, Washington, Montreal, London, Paris, Naples, St. Petersburg, Israel, and Sydney, and collaborations with such distinguished conductors as Andre Previn, Herbert Blomstedt, Yuri Temirkanov, Wolfgang Sawallisch, Mstislav Rostropovich, Gerard
Schwarz, Charles Dutoit, James DePreist, Krzysztof Penderecki, and Maxim Shostakovich. In addition to his recital appearances in the US at Philadelphia's Academy of Music, St. Paul's Ordway Theatre, and UC Berkeley's Hertz Hall, Mr. Solzhenitsyn has also given numerous recitals in Europe and in the Far East in major musical centers including London, Milan, Zurich, Moscow, Tokyo, and Sydney. An avid chamber musician, Mr. Solzhenitsyn has collaborated with the Emerson, Borodin, Brentano, St. Petersburg, and Lydian String Quartets, and in four-hand recital with Mitsuko Uchida. He has frequently appeared at international festivals, including
IGNHT SOLZHENITSYN
Evian, Ludwigsburg, Ojai, Marlboro, Nizhniy Novgorod, and Moscow's famed December Evenings.
A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn was recently appoint?ed to the piano faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, most recently CBS Sunday Morning and ABC's Nightline.
Tonight's performance marks Ignat Solzhenitsyn's UMS debut.
President company of the Kimmel Center for the Performing Arts, the Chamber Orchestra of Philadelphia boasts new artistic leadership for the 0405 season, with the January 2004 appointment of Ignat Solzhenitsyn as Music Director. Mr. Solzhenitsyn has been with the Chamber Orchestra since 1994 and had served as Principal Conductor since 1997. The Orchestra was founded in 1964 by Marc Mostovoy, who was its primary conductor until 1997 and Artistic Director until 2004. The Orchestra has established a reputation for distinguished per?formances of Baroque, Classical, and 20th-cen?tury works, and has toured the US, Europe, and Israel. The New York Times enthused about "the most impressive small ensemble to come through Carnegie Hall in quite some time. The Philadelphia players have a wonderful control at extremely quiet levels, an admirable enthusi?asm and a sure sense of style."
A brilliant concert pianist and conducting graduate from The Curtis Institute of Music, Mr. Solzhenitsyn has been hailed by the Washington Post as "an interpreter of probing intellect as well as an avid risk taker." His artis?tic vision has led the Chamber Orchestra to program more works from the late Classical and early Romantic periods, as well as to emphasize the great 20th-century repertoire. Meanwhile, an 0405 Baroque Perspectives series conceived by Mr. Solzhenitsyn aims, in
the Maestro's own words, "to honor the great Baroque tradition in looking back at it through the prism of intervening centuries, providing a perspective that we hope will fascinate and enthrall every music-lover."
The Chamber Orchestra of Philadelphia has performed with such internationally acclaimed guest artists as Luciano Pavarotti, Vladimir Ashkenazy, Mstislav Rostropovich, Issac Stern, Rudolph Serkin, Jean-Pierre Rampal, The Romeros Guitar Quartet, and Nadja Salerno-Sonnenberg. The current sub?scription season features, among others, cellist Steven Isserlis, violinist Leila Josefowicz, hornist Eric Ruske, and guest conductors Joseph Silverstein, Randall Craig Fleischer, and Vladimir Feltsman.
The Chamber Orchestra of Philadelphia continues to foster and champion the creation of new music. In December 2003 the Orchestra presented the world premiere performances of Vladimir Ryabov's In the Land of the Midnight Sun, and in January 2004 the ensemble pre?miered percussion works in collaboration with Canadian percussion ensemble Scrap Arts Music. In June 2005 Mr. Solzhenitsyn will lead the ensemble in a commissioned world pre?miere by Michael Hersh. To date, The Chamber Orchestra of Philadelphia has over 70 commis?sions and premiere performances to its credit. The Chamber Orchestra of Philadelphia per?forms ten pairs of concerts during its subscrip?tion season in the Kimmel Center from September through June. The ensemble tours regularly, and is currently on a tour of the East Coast and Midwest this April.
Tonight's performance marks the Chamber Orchestra of Philadelphia's UMS debut.
Chamber Orchestra of Philadelphia
Ignat Solzhenitsyn, Music Director
Violin
Mei-Chen Liao Barnes Yan Chin Solomiya Ivakhiv Gloria Justen Elizabeth Kaderabek Eileen Hyun Kim Mu Na Kuprij Charlene Y. Kwas Robert Martin Donna Rudolph Igor Szwec
Viola
Allegra Askew Alexandra Leem Ji Hyun Son Ellen Trainer
Cello
James J. Cooper III James Holesovsky Elizabeth Thompson
Bass
Miles B. Davis
Anne Peterson
Flute
Edward Schultz
Frances Tate
Oboe
Geoffrey Deemer
Adam Hollander
Clarinet
Doris Hall-Gulati
Rie Suzuki
Bassoon Martin Garcia Jacob Smith
Horn
Gabriel Kovach Karen McCommon
Trumpet
Rodney Mack Brian Kuszyk
Timpani Martha Hitchins
(Strings listed in alphabetical order)
UMS
presents
La Capella Reial de Catalunya
and
Le Concert des Nations
Jordi Savall, Artistic Director
Program
Thursday Evening, April 14, 2005 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Music and Songs of Love and War
Miguel de Cervantes
Antonio Martin y Coll Francisco Salinas Anonymous
Juan Aranes
The Music of Don Quixote
El villano (instrumental)
Romance del Conde Claros: A media noche era porfflo
Romance viejo de Lanzarote: Nunca fuera caballero de damas
Chacona a la vida bona: Un sarao de la chacona
Tarquinio Merula
Samuel Scheidt Claudio Monteverdi
Sonata Concertata XX: Ciaccona
Aria sopra la Ciaconna: Su la cetra amoroso
Galliard Battaglia
Sinfonia
Combattimento di Tancredi e Clorinda
INTERMISSION
Biagio Marini Passacaglio
Claudio Monteverdi Lamento della Ninfa
Non havea Febo ancora Lamento della Ninfa Si tra sdegnosi pianti
Luigi Rossi Fantasia "Les Pleurs d'Orphee"
Giacomo Gorzanis La barca del mio Amore
Claudio Monteverdi Tirsi e Cloti
ballo concertato con voci et strumenti a 5
68th Performance of the 126th Annual Season
10th Annual Divine Series
Tlie photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Thanks to Louise K. Stein, U-M School of Music Professor of Musicology, for her assistance with this evenings presentation.
Special thanks to Father Jim McDougall, Dave Barera, lanelle O'Malley and the entire staff and congregation of St. Francis of Assisi Catholic Church for their support of the UMS 10th Annual Divine Expressions Series.
La Capella Reial de Catalunya, Le Concert des Nations, and lordi Savall appear by arrangement in North America with Aaron Concert Artists, Inc. New York, NY.
Large print programs are available upon request.
Jordi Savall is an exceptional figure in today's music world. For more than 30 years he has been devoted to the redis?covery of neglected musical treasures through research, study, and interpre?tation, both as violist and musical director. He has restored an essential repertoire. Mr. Savall has created a wide audience for the viola da gamba, an instrument so refined that it takes us to the very brink of silence. Together with Montserrat Figueras, he has founded three ensembles: Hesperion XX, La Capella Reial, and Le Concert des Nations; together, they explore and create a world of beauty and emotion which reaches out to millions of music-lovers and has established them as the leading expo?nents of neglected musical gems.
One of the most multifariously gifted musicians of his generation, his career as a con?cert performer, teacher, researcher, and creator of new projects, both musical and cultural, make Jordi Savall one of the principal architects of the current revaluation of historical music. The pivotal role he played in Alain Corneau's film Tons les Matins du Monde (All the Mornings of the World), which won a Cesar award for "Best Soundtrack," his intense concert activity (140 concerts per year), recording proj?ects, and the creation of his own record label, Alia Vox, is proof that early music appeals to an increasingly large and young audience.
At the age of six, Jordi Savall began his musical training as a member of the boys' choir of Igualada (Barcelona), the town where he was born, and later studied the cello at the Barcelona Conservatoire, from which he gradu?ated in 1964. In 1965, he began to teach himself the viola da gamba as well as studying ancient music. In 1968 he began his specialist musical training at the Schola Cantorum Basiliensis in Basel, Switzerland, where, in 1973, he succeeded his own master, August Wenzinger, and contin?ues to give courses and master classes.
Jordi Savall's numerous awards and dis?tinctions include Officier de I'Ordre des Arts et des Lettres (1988) from the French Ministry of
Culture and Communication; "Musician of the Year" (1992) awarded by Le Monde de la Musique; "Soloist of the Year" (1993) awarded by Victoires de la Musique; the Gold Medal for Fine Arts (1998) from the Spanish Ministry of Culture and the Arts; and the German Preise der Deutschen Schallplattenkritik (2003).
Tonight's performance marks Jordi Savall's second appearance under UMS auspices. Mr. Savall made his UMS debut in October 1998 as artistic director and instrumentalist with La Capella Reial de Catalunya and Hesperion XX at St. Francis of Assist Catholic Church.
Convinced that a country's cultural roots and traditions always have a decisive influence on the expres?sion of its musical language, Jordi Savall and Montserrat Figueras founded La Capella Reial in 1987, one of the first vocal ensembles devoted to the interpreta?tion of Hispanic Golden Age music according to historical principles and consisting exclusive?ly of Hispanic and Latin voices.
Following the model of the famous "royal chapels" for which the great masterpieces of both religious and secular music were composed
in the Iberian peninsula, this new "Capella Reial," which in 1990 took the name of La Capella Reial de Catalunya, was born as the result of more than 13 years of research and interpretation in the field of early music. Together with Hesperion XX (founded in 1974), its main objective is to extend and deepen the field of research into the specific char?acteristics of the Hispanic and European polyphonic vocal legacy before 1800. The hall?mark of this ensemble is its approach to performance, which balances meticulous vocal sound quality and appropriateness to the style of the period with expressive dic?tion and projection of the poetic text, always striving above all to convey the spiritu?al and artistic dimension peculiar to each individual work. Under the direction of Jordi Savall, it has an intense schedule of concert perform?ances and recordings and reg?ularly takes part in the princi?pal music festivals around the world.
The repertoire and major recordings of the group, as
reflected in its 25 CD catalogue, range from the Cantigas of King Alfonso the Wise and the Llibre Vermeil de Montserrat to Mozart's Requiem, and include the Golden Age Candoneros and the great masters of the Renaissance and the Baroque periods, such as Mateu Flecha, Cristobal de Morales, Francisco Guerrero, Claudio Monteverdi, H. I. von Biber, and El Misteri d'Elx.
The ensemble has also taken part in the soundtrack of Jacques Rivette's film Jeanne la Pucelle, on the life of Joan of Arc, and has per?formed in the operas Una cosa rara, by Vicente Martin y Soler, and Orfeo, by Claudio Monteverdi,
JORDI SOVOLL RND MONTSERRRT FlGUERQS
staged at Barcelona's Gran Teatre del Liceu in 1991 and 1993, respectively. Orfeo was also staged at Teatro Real in Madrid (2000), the Konzerthaus in Vienna (2001), the Teatro Reggio in Turin (2000), and at the newly rebuilt Liceu in Barcelona (2001), the latter production being recorded in a BBC-Opus Arte DVD. Since 1990, La Capella Reial de Catalunya has received the official support of the Generalitat, the Autonomous Government of Catalonia.
Tonight's performance marks La Capella Reial de Catalunya's second appearance under UMS auspices. The ensemble made its UMS debut in October 1998 with Hesperion XX at St. Francis of Assisi Catholic Church.
Taking its inspiration from Les Nations, a work by Francois Couperin symbolising the coming together of musical tastes and heralding a "European artistic space" which, far from being a recent invention, bears all the hallmarks of the Age of Enlightenment, Le Concert des Nations, the youngest of the ensembles directed by Jordi Savall, was founded in 1989. Created during the preparation of the Canticum Beatae Virgine by Charpentier, this group arose out of the need for an orchestra of period instruments that could play the orches?tral and symphonic repertoire from the Baroque to the Romantic periods. Le Concert des Nations is the first orchestra of its kind made up chiefly of musicians from Latin countries, all of whom are outstanding specialists in perform?ance using period instruments. The impact of the ensemble's recordings and concerts given in the major cities and music festivals over the last 15 years has established its reputation as one of the best original instrumental orchestras per?forming today, with a broad and varied reper?toire that ranges from the earliest music com?posed for orchestra to the masterpieces of the Romantic period, including the key Baroque and Classical composers.
Le Concert des Nations' desire to increase audiences' familiarity with a wide historical
repertoire of exceptional quality through rigor?ous and revitalising performances was apparent from their earliest recordings: Charpentier, J.S. Bach, Haydn, Mozart, Handel, Beethoven, Purcell, and Dumanoir. The ensemble's most recent productions include works by Lully, Biber, J.S. Bach, and Vivaldi, released under Jordi Savall's award-winning record label, Alia Vox.
Le Concert des Nations made its opera debut in 1992 with Martin y Soler's Una cosa ram, continuing with a production of Monteverdi's Orfeo, which was staged in Barcelona in 1993, and in the re-opened Gran Teatre del Liceu, in Barcelona in 2001. In 1995, the ensemble performed another opera by Martin y Soler, Burbero di Buon Cuore, staged in Montpellier; and in 2000 added to its opera repertoire Celos aun del Ayre matan, by Juan Hidalgo and Calderon de la Barca, performed in a concert version in Barcelona and Vienna. More recent productions include Vivaldi's Farnace, staged at Teatro de la Zarzuela in Madrid (2001), also released as a CD; and Orfeo, recorded and released as a DVD by BBC-Opus Arte (2002).
Tonight's performance marks Le Concert des Nations' UMS debut.
La Capella Reial de Catalunya
Montserrat Figueras, Soprano Arianna Savall, Soprano Lluis Vilamajo, Tenor Furio Zanasi, Baritone Daniele Carnovich, Bass
Le Concert des Nations
Manfredo Kraemer, David Plantier, Violin
Jordi Savall, Viola da gamba
Sergi Casademunt, Viola da gamba
Bruno Cocset, Basse de violon
Xavier Puertas, Violone
Andrew Lawrence-King, Double Harp and Psaltry
Xavier Diaz-Latorre, Theorbo and Guitar
Rejean Poirier, Harpsichord
Pedro Estvan, Percussion
For more information on Aaron Concert Artists, please visit www.aaronconcert.com.
In Appreciation
All of us in the UMS family thank our colleague and friend
Karen Wolff
for her many contributions to UMS and the University during her tenure as U-M School of Music dean. We extend to her our very best wishes in her retirement.
UMS
presents
Dame Felicity Lott
Soprano
Angelika Kirchschlager
Mezzo-soprano Eugene Asti, Piano
Program
Wednesday Evening, April 20, 2005 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
Women's Lives and Loves: Tmuenliebe und -leben x 2
A LlEDERSPIEL DEVISED BY GRAHAM JOHNSON
Lovestruck: The First Meeting
Robert Schumann Erste Begegnung
Johannes Brahms Ach, wende diesen Blick
Schumann Seit ich ihn gesehen
Hugo Wolf Bitt' ihn, o Mutter
Carl Loewe Seit ich ihn gesehen
II
Hopeless Adoration
Felix Mendelssohn Ich wollt' meine Lieb' ergdsse sich
Schumann Seit ich ihn gesehen
Wolf Was fur ein Lied soil dir gesungen warden
Schumann Er, der Herrlichste von alien
Loewe Er, der Herrlichste von alien
Brahms Madchenlied
Wolf Wohl kenn' ich Euern Stand, der nicht gering
III
Reciprocation and Betrothal
Loewe Ich kann's nicht fassen, nicht glauben
Schumann Ich kann's nicht fassen, nicht glauben
Schumann Botschaft
Loewe Du Ring an meinem Finger
Schumann Du Ring an meinem Finger
Brahms Das Madchen spricht
Schumann Das Gliick
INTERMISSION
Mendelssohn
Wolf
Loewe
Schumann
Wolf
Brahms
IV
Fiancees and Brides
GruG
O war dein Haus durchsichtig wie ein Glas
Helft mir, ihr Schwestern
Helft mir, ihr Schwestern
Erstes Liebeslied eines Madchens
Spanisches Lied
Schumann
Loewe
Schumann
Loewe
Mendelssohn
Loewe Schumann Brahms Schumann
Joyful Motherhood
Siifier Freund
SiiBer Freund
An meinem Herzen, an meiner Brust
An meinem Herzen, an meiner Brust
Volkslied
VI
Bitter Loss, Love Everlasting
Nun hast du mir den ersten Schmerz getan
Nun hast du mir den ersten Schmerz getan
Kla'nge
So wahr die Sonne scheinet
The audience is politely asked to withhold applause until the end of each half of tonight's program. Please do not applaud after the individual songs or after each group.
69th Performance of the 126th Annual Season
Ninth Annual Song Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to the Ann Arbor District Library, Richard LeSueur, and Tim Grimes for their participation in this residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Dame Felicity Lott appears by arrangement with Askonas Holt, Ltd.
Ms. Angelika Kirchschlager appears by arrangement with Mastroianni Associates, Inc.
Mr. Asti appears by arrangement with Harlequin Agency Limited.
Large print programs are available upon request
The challenge of planning this duet program was very different from that of one based on Cost fan tutte. After a certain amount of discussion with the singers it was clear that a more serious evening was required, rather than one which dissolves into comedy. This was to be a lieder program rather than a mixture of music from many lands which is the result of an accus?tomed English eclecticism. I was rather pleased about this as the joys of cross-over performanc?es are sometimes more joyful for the performer than for the audience. Some singers (Dame Felicity Lott among them) are excellent with light music, but despite a glut of this in the recitals of today it is a type of singing for which most classical artists are not trained. I have nightmare memories of a lieder singer's all-jazz evening; by the interval the public, like Jane Austen, had been "delighted long enough" and were praying for Goethe to replace Gershwin.
The idea at the heart of tonight's program is to follow the shape of Adelbert von Chamisso's cycle of poems entitled Frauenliebe und -leben. Robert Schumann wrote his famous songs in 1840, though this was by no means the first musical setting. This honor fell to the artist and poet Franz Kugler, a close friend of Chamisso, who published the cycle with his own simple but touching music in his Skizzenbuch of 1830. Schumann was not even the second composer: this was Carl Loewe whose cycle was composed and published in 1836. By the time Schumann came to set these words he was certainly already aware of their musical possibilities in other hands many composers like Franz Lachner had isolated poems from the cycle. By now Schumann's Frauenliebe und -leben is a staple of the reper?toire; it is so well known in fact that many members of tonight's audience could hum the piece through from start to finish without diffi?culty! The Loewe on the other hand is much more of a rarity: it has moments, indeed whole songs, of great beauty, but also longeurs and patches where Schumann's greater inspiration invites unfavorable comparisons.
I decided to plan an evening based on the various stages of the woman's life where these two cycles would be interleaved with each
other; these in turn would be enriched with other solo songs and real duets. There are com?plete performances of neither Schumann's nor Loewe's cycle. A straightforward side-by-side performance of the two works with each singer alternating the same poems seems a good idea in theory, but proves deadly in practice, unfair to both composers in different ways. We will, however, hear all Chamisso's texts, and in the poet's sequence (not including, however, the ninth poem for the suddenly aged heroine as a grandmother, which Loewe set unexceptionally, and Schumann ignored).
In tonight's performance it is as if two women were feeling similar emotions but fixing their gaze on different men in different tessi?turas. Throughout the evening Angelika Kirchschlager is the advocate of the Loewe cycle (which the composer intended to be sung by a mezzo-soprano) while Felicity Lott remains identified with Schumann's setting. Instead of creating an atmosphere of rivalry the mood suggests two women able to confide in each other about the joys and pains of their different relationships. At the end of the evening the mezzo is drawn into the soprano's orbit and takes part in a performance of Schumann's final song. Throughout the evening we hear linking fragments of Schumann's cycle in an arrange?ment of the cycle for solo piano by Theodor Kirchner; this was sanctioned by, and dedicated to, Clara Schumann indeed it has emerged fairly recently that he was her lover for a short time following Robert's death. This scheme allows room for other songs and duets which are placed in such a way as to comment on the cycle's broader themes.
I
Chamisso's heroine tells us that since first encountering the all-important 'him' she is so dazzled, so profoundly moved, that it is as if she has lost her sight. The songs in this group expand on the experience of that blinding coup defoudre and act as a prelude to the secret tears of Schumann's heroine as she weeps alone in her little room. At the very beginning of the recital we hear a premonition of things to come closing notes from the last song in
Schumann's cycle in the solo piano arrange?ment of Theodor Kirchner. And then we hear the perky rhythms of "Erste Begegnung" by way of flashback and prelude: it removes the action from the Biedermeier confines of a German city and takes us to Spain for the imagined first meeting between the future lovers. This is the opening item in Schumann's Spanisches Liederspiel and throbs with excitement and newly awoken passion. The girls have seen a young man picking roses and receive one from his hands. The invisible presence of their moth?er ("O Mutter") is a guarantee of their relative inexperience. "Ach, wende diesen Blick" (Brahms) is an impassioned plea from the mezzo who begs the beloved to avert his blind?ing, potentially fatal, glance. In the middle of this heartfelt outburst, music from the Schumann cycle makes its first vocal appear?ance. It is clear that these two characters react differently the soprano more calmly on the whole, though she seeks her mother's help in the impassioned "Biff' ihn, o Mutter" from Wolf's Spanisches Liederbuch. The boy referred to in this poem is Cupid with his deadly darts -another manifestation of love's power suddenly to strike its victims blind and powerless. A pianistic echo of Schumann's opening song in Kirchner's arrangement is followed by a com?plete performance of "Serf ich ihn gesehen" as composed by Loewe.
II
At the heart of this section is Schumann's very famous song "Er, der Herrlichste von alien This is often mistakenly performed in a mood of almost militant triumphalism. The song's dot?ted rhythms can lead to the inappropriate emergence of a Valkyrie at this point in the cycle, and the man's attributes (eyes, lips, etc.) become a shopping list of greedy relish and imminent possession. In fact the text makes it clear that this particular girl cannot aspire to the man in question, almost certainly because she is not his match in terms of birth and class. This is not craven worship of a male in a pre-feminist era; rather is it the sad reckoning of a girl of relatively humble origins who must come to terms with the fact that her secret pin-
up is destined to marry someone from his own social background. (That he does in fact marry our heroine, as opposed to make her his mis?tress in the manner of the time, is a reflection of Chamisso's own egalitarian beliefs.) The Mendelssohn duet "Ich wollt' meine Lieb' ergosse sich" depicts the excited flush of first love (how?ever impractical) where the lover is seen in the poet's dreams. We now hear the second strophe of Schumann's "Seit ich ihn gesehen!' Wolf's "Was fur ein Lied soil dir gesungen warden" expresses the fervent admiration of a lover who can scarcely find the words to praise the object of her affections. This leads into the famous "Er, der Herrlichste von alien" in Schumann's setting with its bitter realization that only a girl as high-born as the beloved himself will be worthy to be his life companion. The singer can only promise herself that she will bless this worthy consort, whoever it may be, while her own heart breaks. As a despondent echo of Schumann's song we hear the last strophe of Loewe's setting of these words. Unlike Schumann, who opts for a recapitulation of the opening words, Loewe is content to end his song with the bereft words "Brich, o Herz, was liegt damn' The Brahms "Madchenlied" is the song of a young woman who feels that after much waiting and hoping she no longer has any marital prospects. After another pianistic echo of "Seit ich ihn gesehen" the second extract from Wolf's Italienisches Liederbuch underlines the mood of tender veneration where one per?son in a relationship feels scarcely worthy of the other. This imbalance is soon to right itself.
Ill
"I cannot grasp it, believe it," says Chamisso's heroine. Loewe's response is dreamier, less excited, than Schumann's and on this occasion we begin with his. Schumann's setting is then announced as a piano solo, but we cannot resist asking the soprano to sing Schumann's descrip?tion of the man's tender avowal of love ("Mir war's, er habe gesprochen: ich bin aufweig dein") a characterization unequalled by other com?posers of the same text. Schumann's "Botschaft" (the Spanisches Liederspiel again) retums us briefly to a languid bolero from southern
climes. The musical mood suggests the sighs of prenuptial longing as girls prepare their trousseaux and wedding garlands. "Du Ring an meinem Finger" betokens the actual betrothal. These are very different rings for different fin?gers: we hear Loewe's setting from the mezzo and the second half of Schumann's from the soprano (which includes a recapitulation of the song's famous opening theme). Kirchner's arrangement of "Helft mir, ihr Schwestern" sig?nifies here the two girls imagining the wedding dreaming about the big day before it actually takes place. The two remaining songs in the section further depict their excitement and impatience. The Brahms song "Das Madchen spricht" is shared between the singers as they compare their happiness to that of the joyful female swallow. (The German word "Braut" means "betrothed" rather than bride.) Schumann's duet "Das Gliick" seems to contin?ue the conversation with the birds initiated in the Brahms song. Schumann's own impatience for his marriage day, and all the sweet things it will bring, leave the singers in a state of giddy rapture.
IV
This section begins with two songs indicative of deepening courtship. "Grufi" of Mendelssohn is a justly famous song: the Eichendorff text has a momentary warning of the mortality of the loved one, a hint of tragedy to come. Wolf's "O war dein Haus durchsichtig wie ein Glas" is more light-hearted; it is written for lovers who are unmarried and thus unable, as yet, to share the same house. It is as if the soprano wants to keep her lover under glass, so precious has he become to her. She also wants to keep her eye on him. The shyness of her being blinded at the beginning of the program has been replaced by a hunger for his glances and more than a touch of possessiveness. The wedding day arrives at last. It is Loewe's "Helft mir, ihr Schwestern" which we hear, one of the more rapturous pieces in his cycle of songs. At the end of this we hear a part of Schumann's song to the same words, the moment when the bride addresses her sisters just before walking down the aisle -surely one of the most tender asides in all
lieder. This is followed by the song's famous postlude with its Shakespearian echo of Mendelssohn's Wedding March. The girl tums her back on her sisters' playful preparations as she faces the solemnity of the church and the rows of assembled guests. It is all like a dream on a midsummer day. Chamisso's cycle of poems sends the girl down the aisle and we hear nothing more from her until she announces to her overjoyed, but surprisingly astounded, husband that they are expecting a baby. Here we permit ourselves to make some suggestion of the events which lie between. Wolf's "Erstes Liebeslied eines Madchens" has a text by Mdrike which employs astonishingly Freudian imagery "it would lacerate a block of marble" Wolf proudly said of it, and it seems suitable enough to depict a wedding night which leads to unexpected lift-offunexpected that is by the heroine, though passionately fore?seen and hoped for by her new husband. The louche and sleepy charms of "Spanisches Lied" by Brahms suggest a pleasure that has quickly become a habit, a song for an indolent honey?moon in the Canaries.
"Siifier Freund" is a confession of pregnancy which begins in shy tears and tums into some?thing rapturous and decisive for it is the woman from now on who is mistress of her own destiny. The cycle, far from being a feminist's nightmare, makes a strong case, for its time, for female independence. This is the jewel song shin?ing at the heart of Schumann's great cycle. The actual moment of breaking-news is a matter of such intimacy that Schumann cuts the third stro?phe of Chamisso's poem in order that the good news might be whispered in what one might call a pregnant piano interlude, music which barely conceals the growing sense of wonder in the hus?band's wide-eyed reaction. The more down-to-earth Loewe sees no reason to be shy at this point; we hear his setting from the beginning of the verse which Schumann omits. After sharing these experiences with each other, and with us, the two women go their separate ways and have children of their own: this is the only occasion in the evening when a complete Schumann setting,
and one on the same words by Loewe, is placed side by side. These are very different versions of "An meinem Herzen, an meiner Brust Loewe aims for tender contentment with a touch of col?oratura rapture, Schumann for the more imme?diate excitement of motherhood breast-feeding of the first verse leads to rocking the baby in her arms, and then bouncing him delightedly on her knee. There is a strong sense of the woman's empowerment as she pities men unable to share the depth of her experience. Roles have been reversed, and it is now the man who is blinded by mysteries that he can only observe with wonder. The Mendelssohn setting of a poem by Bums ("Volkslied") is a final statement of the devotion of the married couple; the imagery may also apply to parents' love for their children, for this is music which implies the strength of family life. It also mentions ill fortune and the willingness to shoulder it with one's loved ones. Sadly the hero?ine will have to bear her desperate ill fortune on her own and all too soon.
VI
Chamisso does not make it clear how much time elapses between the birth of the baby and the death of the husband and father. One some?how feels that our heroine has been left a widow in her youthful years. Only very recently a celebrated soprano suddenly lost her partner
still a young man; she has been left with their two children aged three years and six months. I was with her when she received the news. The tragedy at the end of this cycle no longer seems to me (if it ever did) the stuff of Biedermeier exaggeration and sentimentality. It would be hard to imagine asking her to sing the Schumann cycle again, especially the last song, but I believe she will eventually do so. Both Schumann and Loewe (four years earlier) cast their final numbers in d minor and in 44 time
they are astonishingly similar in many ways. We hear them here in alternate sections, begin?ning with the Loewe. At the end, the mezzo is drawn into Schumann's world for the closing bars ("Ich zieh mich in man Innres still zuriick") that cannot be compared to the music of any other composer of these words it would be unfair to expect Loewe to match the revelatory
tone of this passage. In Schumann's version of the cycle we plunge immediately into the piano's postlude, a recapitulation of the cycle's opening music. On this occasion we delay this closure and extend the moment of mourning with Brahms' exquisite duet "Kliinge," No. 1. This is followed by music, also by Schumann of course, which suggests acceptance and inner reconciliation: his duet setting of Riickert's "So wahr die Sonne scheinet" (he also set these words as a wonderful vocal quartet). In this music there is a calmness which suggests both a marital devotion which will survive the grave, and the strength to carry on with the rest of one's life. It is only then that we hear at last the closing page of Schumann's cycle, the piano's solitary echo of "Seit ich ihn gesehen" which is perhaps the most famous postlude in the entire song repertoire.
Program notes by Graham Johnson, O 2004
Felicity Lott was born and educated in Cheltenham, read French at Royal Holloway College, of which she is now an Honorary Fellow, and singing at the Royal Academy of Music, of which she is a Fellow. Her operatic repertoire ranges from Handel to Stravinsky, while above all supporting her formidable international reputation as an interpreter of the great roles of Mozart and Strauss. At the Royal Opera House she has sung Anne Trulove, Blanche, Ellen Orford, Eva, Countess Almaviva, under Mackerras, Tate, Davis, and under Haitink, the Marschallin. At the Glyndebourne Festival her roles include Anne Trulove, Pamina, Donna Elvira, Oktavian, Christine ("Intermezzo"), Countess Madeleine ("Capriccio"), and the title role in Arabella. Her roles at the Bavarian State Opera, Munich, include Christine, Countess Almaviva, Countess Madeleine, and the Marschallin. For the Vienna State Opera her roles include the Marschallin under Kleiber which she has sung both in Vienna and Japan. In Paris, at the Opea Bastille, Opera Comique, Chatelet, and Palais Gamier she has sung Cleopatra, Donna Elvira,
Fiordiligi, Countess Madeleine, the Marschallin, and the title roles in La Belle Helene and La Grande Duchesse de Gerolstein. At the Metropolitan Opera, New York, she sang the Marschallin under Carlos Kleiber and
DAME FELICITY LOTT
Photo: Trevor Leighton
Countess Almaviva under James Levine.
Dame Felicity Lott has sung with the Vienna Philharmonic and Chicago Symphony Orchestras under Solti, the Munich Philharmonic under Mehta, the London Philharmonic under Haitink, Welser-Most and Masur, the Concertgebouworkest under Masur, the Boston Symphony under Previn, the New York Philharmonic under Previn and Masur, the BBC Symphony Orchestra with Sir Andrew Davis in London, Sydney, and New York, and
I the Cleveland Orchestra under Welser-Most in Cleveland and Carnegie Hall. In Berlin she has sung with the Berlin Philharmonic under Solti and Rattle and the Deutsche Staatskapelle under Jordan.
A founder member of The Songmakers' Almanac, Ms. Lott has appeared on the major recital platforms of the world, including the Salzburg, Prague, Bergen, Aldeburgh, Edinburgh, and Munich Festivals, the Musikverein and Konzerthaus in Vienna, and the Salle Gaveau, Musee d'Orsay, Op?ra Comique, Chatelet, and Theatre des Champs Elysees in Paris. She has a particularly close association with the Wigmore Hall.
Her many awards include honorary doc?torates at the Universities of Oxford, Loughborough, Leicester, London, and Sussex, and the Royal Academy of Music and Drama Glasgow. She was made a CBE in the 1990 New Year Honours and in 1996 was created a Dame Commander of the British Empire. In February 2003 she was awarded the title of Bayerische Kammersangerin. She has also been awarded
the titles Officier de l'Ordre des Arts et des Lettres and Chevalier de l'Ordre National de la Legion d'Honneur by the French Government.
Tonight's recital marks Dame Felicity Lott's UMS debut.
The Austrian mezzo-soprano Angelika Kirchschlager is one of today's most sought-after singers in her repertory. Dividing her time between recitals and opera in Europe, North America, and the Far East, Ms. Kirchschlager is equally at home on both the opera and concert stage.
Her operatic repertoire includes the Mozart roles of Cherubino in Le nozze di Figaro, Dorabella in Cost fan tutte, as well as Zerlina in Don Giovanni. Additional roles include
Octavian in Der Rosenkavalier, Niclausse in Les Contes des Hoffmann, Orlovsky in Die Fledermaus, Valencine in The Merry Widow, the Composer in Ariadne auf Naxos, and Sophie in Sophie's Choice. As a cele?brated recitalist
Rngelxka K i rchschlrger
Phlc: I rink Ockmfcli
and concert performer, Ms. Kirchschlager's repertoire reaches from Bach, Brahms, Korngold, Mahler, Mendelssohn, and Ravel to Rossini, Schubert, Schumann, Weill, and Wolff.
Ms. Kirchschlager is often accompanied by pianists like Jean-Yves Thibaudet and Helmut Deutsch as well as violist Yuri Bashmet. Important conductors in her career are Riccardo Muti, Seiji Osawa, Claudio Abbado, Sir Colin Davis, Kurt Masur, Kent Nagano, Donald Runnicles, and Sir Simon Rattle. She has performed on the most prestigious stages including La Scala in Milan, the Metropolitan
Opera in New York, the Opea Bastille in Paris, the Vienna State Opera, Munich State Opera, San Francisco Opera, the Salle Pleyel and Cite1 de la Musique in Paris, Carnegie Hall and Avery Fisher Hall in New York, Boston Symphony Hall, and the Barbican Centre in London.
During last summer's festival season, Ms. Kirchschlager returned to Salzburg in her favorite role of Octavian in Strauss' Rosenkavalier. Further highlights of the season include concerts of Mendelssohn's Elias with Thomas Quasthoff and the Vienna Philharmonic, a concert tour to the US, Le nozze di Figaro and Rosenkavalier in Vienna, and Giulio Cesare at the 2005 Glyndebourne Festival.
Angelika Kirchschlager won a 2005 Grammy Award as part of the Figaro recording (Cherubino) with Ren6 Jacobs which won "Best Opera Recording." The duet album First Encounter with soprano Barbara Bonney was released in fall 2004 and includes music by Felix Mendelssohn, Fanny Mendelssohn Hensel, Robert Schumann, Johannes Brahms, and Antonin Dvorak. Her debut recording was a highly acclaimed album of lieder by Korngold, Alma, and Gustav Mahler. Her second album, When Night Falls, featuring lullabies, lieder, and Broadway songs, won the ECHO 2000 Music Award as "Best Solo Recording of the Year." Ms. Kirchschlager is an exclusive recording artist for Sony Classical.
Born in Salzburg, Ms. Kirchschlager stud?ied piano at the Mozarteum. Upon graduation from the Musisches Gymnasium in Salzburg, she enrolled at the Vienna Music Academy in 1984 where she studied with the late Walter Berry. Ms. Kirchschlager resides in Vienna.
Tonight's recital marks Angelika Kirchschlager's UMS debut.
Eugene Asti studied at the Mannes College of Music, New York, with Jeannette Haien where he earned his BM and MA. He has received numerous awards including a Fulbright Scholarship to study piano accompaniment with Graham Johnson at the Guildhall School of Music and Drama, the Ferdinand Rauter
Memorial Prize (Richard Tauber Competition) and the Megan Foster Prize (Maggie Teyte Competition).
Much in demand as an accompanist, Mr. Asti has performed with many great artists including Dame Felicity Lott, Dame Margaret Price, Nancy Argenta, and Elizabeth Connell, in places such as the Wigmore Hall, the Rome
Opera House, the Musikverein in Vienna, the Aix-en-Provence Festival, Paris, Madrid, and New York. He has devised recital series for St. John's Smith Square and St. George's Bristol to mark the Brahms and Mendelssohn anniversaries in
Eugene Psti
1997, and, in 1999, planned a series for St. John's Smith Square to mark the PoulencStrauss anniversaries.
Recent engagements have included recitals with Dame Felicity Lott, Alison Buchanan, and Sophie Daneman, including live broadcasts from the Wigmore Hall, the Waterfront Hall in Belfast, and at New York's Weill Recital Hall and Lincoln Center.
On CD, Mr. Asti has recorded songs and duets by Felix Mendelssohn with Sophie Daneman and Nathan Berg, and songs by Fanny Mendelssohn with Susan Gritton, both for the Hyperion label. He has also recorded songs by Eric Coates with tenor Richard Edgar-Wilson for Marco Polo. A third volume of Mendelssohn songs and duets for Hyperion has just been released.
Mr. Asti teaches at the Guildhall School of Music and Drama and is Vocal Accompaniment Coordinator at Trinity College of Music. He regularly gives master classes both in the UK and abroad.
Tonight's recital marks Eugene Asti's UMS debut.
UMS
presents
John Scofield Trio
and
Brad Mehldau Trio
Brad Mehldau, Piano Larry Grenadier, Bass Jorge Rossy, Drums
John Scofield, Guitar Steve Swallow, Bass Bill Stewart, Drums
Program Thursday Evening, April 21, 2005 at 8:00
Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain one intermission.
70th Performance of the 126th Annual Season
11th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Media partnership for this performance provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
John Scofield Trio and Brad Mehldau Trio appear by arrangement with International Music Network.
Large print programs are available upon request.
Brad Mehldau, born in August 1970, is a jazz pianist who has recorded and per?formed extensively since the early 1990s. He has worked primarily with the same trio since 1995, featuring bassist Larry Grenadier and drummer Jorge Rossy. Mr. Mehldau's most consistent output over the years has taken place in that band, due in no small part to the rapport among the three musicians, and the constant creative inspiration he receives from Mr. Grenadier and Mr. Rossy. Since 1996, they have released a series of five records on the Warner Brothers label entitled The Art of the Trio. Mr. Mehldau also has solo piano recordings entitled Elegiac Cycle and Live in Tokyo as well as another recording, Places, that includes both solo piano and
trio songs. Outside of the trio format is Largo, a collaborative effort with the brilliant musician and producer Jon Brion. The trio's most recent release, Anything Goes, continues the ensemble's signature approach to jazz and pop standards.
Brad Mehldau has two sides to his musical personality. He is first and foremost an impro-viser that cherishes the surprise and wonder that can occur from a spontaneous musical idea. He also has a deep fascination for the for?mal structure of music, and it informs every?thing he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device.
Mr. Mehldau has performed around the world since the mid-90s with his trio and as a solo pianist. In addition to playing and record?ing with his trio and solo, Mr. Mehldau has performed and recorded with a number of great musicians including saxophonist Joshua Redman, recordings and concerts with Charlie Haden and Lee Konitz, and recordings as a sideman with Wayne Shorter, John Scofield,
Brqd Mehldru Trio
and Charles Lloyd. For more than a decade, he has played and recorded with musical peers whom he respects greatly including the gui?tarists Peter Bernstein and Kurt Rosenwinkel, and tenor saxophonist Mark Turner. Brad Mehldau has also appeared on a number of recordings outside of the jazz idiom including Willie Nelson's Teatro and singer-songwriter Joe Henry's Scar. His music has appeared in several films, including Stanley Kubrick's Eyes Wide Shut and Wim Wender's Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mr. Mehldau's latest project is a Carnegie Hall com?mission for voice and piano scheduled to have its premiere this May with classical soprano Renee Fleming.
Tonight's performance marks the Brad Mehldau Trio's second appearance under UMS auspices. The trio made their UMS debut in November 2001 in a concert alongside the Joshua Redman Quartet at Michigan Theater.
Born in Ohio and raised in suburban Connecticut, John Scofield took up the guitar at age 11, inspired by both rock and blues players. A local teacher introduced him to Wes Montgomery, Jim Hall, and Pat Martino, which sparked a lifelong love of jazz. Mr. Scofield soon attended the Berklee College of Music, later moving into the public eye with a wide variety of band?leaders and musicians includ?ing Charles Mingus, Herbie Hancock, Chick Corea, Joe Henderson, Billy Cobham, George Duke, Gerry Mulligan, McCoy Tyner, Jim Hall, and Gary Burton. In 1982, he began a three-and-a-half-year
stint touring with Miles Davis. John Scofield's compositions and inimitable guitar work appear on three of Miles Davis' albums.
John Scofield began recording as a leader in the late 1970s, establishing himself as an influential and innovative player and composer. His recordings many already considered clas?sics -include collaborations with contemporary favorites like Pat Metheny, Medeski, Martin & Wood, Bill Frisell, Government Mule, and Joe Lovano. Throughout his work, the guitarist has kept an open musical mind.
Signing with Verve Records in 1995, John Scofield released Quiet in 1996, A Go Go in 1997, Bump in 1999, and Works For Me in 2000. Previously recorded outings by Mr. Scofield have found him performing in elaborate set?tings. His works range from the plugged-in, electronically tweaked jamming of Up All Night, to the full orchestral setting of the recent Scorched, a collaboration with British composer Mark-Anthony Turnage issued on the venerable classical imprint, Deutsche Grammophone. In 2004 Verve released the highly anticipated
John Scofield Trio
EnRoute, a recording that focuses on the high-wire interaction of longtime musical partners, guitarist John Scofield and his trio mates heard this evening, bassist Steve Swallow and drum?mer Bill Stewart, in the heat of a live, stripped-down jazz setting at New York's Blue Note.
Tonight's performance marks John Scofield and the John Scofield Trio's UMS debut.
UMS
and
Miller Canfield Paddock 8 Stone
present
Jerusalem Quartet
Alexander Pavlovsky, Violin Sergei Bresler, Violin Amihai Grosz, Viola Kyril Zlotnikov, Cello
Program
Thursday Evening, April 28, 2005 at 8:00 Rackham Auditorium Ann Arbor
Ludwig van Beethoven
Dmitri Shostakovich
Antonin Dvorak
String Quartet in G Major, Op. 18, No. 2
Allegro
Adagio cantabile
Scherzo: Allegro
Allegro molto quasi presto
String Quartet No. 10 in A-flat Major, Op. 118
Andante
Allegretto furioso Adagio Allegretto
(Movements 3 and 4 played attacca, without pause) INTERMISSION
String Quartet No. 12 in F Major, Op. 96
Allegro ma non troppo
Lento
Molto vivace
Finale: Vivace ma non troppo
71st 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 photo?graphing or sound record?ing is prohibited.
This performance is sponsored by Miller Canfield Paddock & Stone.
Media partnership for this performance provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and Detroit Jewish News.
Special thanks to Steven Whiting and the U-M School of Music for their participation in this residency.
Jerusalem Quartet appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
String Quartet in G Major, Op. 18, No. 2
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
When the young Beethoven left his native Bonn for Vienna in 1792, his patron, Count Waldstein, sent him on his way with the words: "With the help of assiduous labor you shall receive Mozart's spirit from Haydn's hands." What the count meant was simply that, even though Mozart had died the previous year, Beethoven could still study with Haydn, the other great Viennese composer. Things didn't quite work out that way, though, for Haydn and Beethoven didn't get along very well and the composition lessons never really got off the ground. Waldstein's words, however, were prophetic on another level, as they implied that Beethoven could some day inherit the mantle of the two older masters. And in fact, once installed in Vienna, Beethoven lost no time in claiming his place as im Bunde der Dritte (to quote a famous phrase from Beethoven's favorite poet, Schiller, meaning "the third in the alliance"). Having absorbed the style of Haydn and Mozart during his first Viennese years, he immediately began to put his own personal stamp on that style. With his first 20 opus numbers, published between 1795 and 1801, he thoroughly assimilated and carried on the gen?res of concerto, piano sonata, and chamber music; by 1799-1800, he was ready to write his Symphony No. 1.
The six string quartets of Op. 18, written around the same time as Symphony No. 1, exemplify these simultaneous acts of taking possession and making profound changes at once. (It is somewhat like moving into an old house and starting to remodel right away.) The influence of Beethoven's predecessors can frequently be felt, and scholars have shown that
there is much in these quartets that originates in compositional essays in the Bonn period. Yet the set as a whole is nothing less than revolu?tionary: it includes movements (such as the "Romeo and Juliet" slow movement of the F-Major quartet, or the mysterious "La Malinconia" from the B-flat Major) that have no precedent whatsoever in the history of the string quartet, and in general, one can never doubt for a moment, listening to any of the six quartets, that a major new voice has appeared on the scene.
The G-Major quartet, composed in 1799, was extensively revised by the composer during the summer of the following year. It is a gentle work, full of charm and humor but with the same adventurous spirit as the rest of the set. The graceful opening melody of the first move?ment appears in some fairly distant keys in the course of the movement. The second move?ment contains something rather unheard-of at the time, namely a sudden change of tempo, key, and meter, as the initial "Adagio cantabile" is interrupted by a fast-paced allegro, whose theme derives from the closing motive of the "Adagio." The varied recapitulation of the "Adagio" and especially its melancholy coda, with chords borrowed from the minor mode, are particularly noteworthy novelties.
The third-movement "Scherzo" uses a sharply profiled rhythmic motif as a starting point for many subtle and exquisite tonal games. Dance-like and virtuosic, the Trio sec?tion shares the carefree mood of the scherzo proper. The finale opens with a simple yet irre?sistible melody in dance rhythm; as it is devel?oped, the rhythmic motion will sometimes slow down, repeating single harmonies pensively or playfully as the case may be, before another appearance of the opening melody (in ever-changing keys) propels the movement into new and unexpected directions.
String Quartet No. 10 in A-flat Major, Op. 118
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg, Russia
Died August 9, 1975 in Moscow
On July 21, 1964, Shostakovich wrote to his close friend Isaac Glikman from the Armenian hill resort of Dilizhan, where and his wife Irina had spent a few weeks in the guest house of the Composers' Union:
Dear Isaac Davidovich,
I finished another quartet yesterday, my tenth. It is dedicated to M.S. Weinberg.1 He had beat me because he had written nine quartets (and I had only eight). My goal was to catch up with Weinberg and to get ahead of him, and I've done just that.
Last night, to celebrate this occasion and also the second anniversary of the 13th Symphony, we had a drink.
This account is quintessential Shostakovich: with his typical self-deprecating sarcasm, he seems to reduce the act of writing quartets (since Beethoven, the most hallowed form of instrumental music) to some sort of competi?tive game. Of course, if anyone in the second half of the 20th century knew what quartet-writing really meant, it was Shostakovich, who made the genre into a vehicle for a very special kind of self-expression. He composed a total of 15 quartets (positively defeating his friend), ten of which were written after his 50th birthday. Shostakovich was developing his "private" voice as his production in the more "public" sym?phonic genre, with which he was so closely associated for so many years, gradually decreased.
String Quartet No. 10 was written immedi?ately after No. 9, a highly dramatic work that :nded with a ferocious danse macabre. Quartet Vo. 10 contains emotional contrasts that are no ess extreme, yet the ending this time, as we shall see, is calm and peaceful. Perhaps for that
reason, at least one commentator sees this work as the starting point for the series of "late" quartets, culminating in the astounding group of three works (Nos. 13-15) that constitute Shostakovich's musical testament.
The road that leads there begins with a meditative opening "Andante," whose main motive, first introduced by the unaccompanied first violin, gives way to a more agitated middle section dominated by the mysterious sul ponti-cello timbre (played with the bow near the fin?gerboard). The second movement is one of Shostakovich's "furious" scherzos, based on a simple, folk-like theme but filled with powerful, almost brutal accents, and reaching a state of paroxysm at the end.
The quartet continues with an "Adagio" in the form of the passacaglia that was so dear to Shostakovich. In his hands, the original Baroque idea of a set of continuous variations over an unchanging bass takes on an entirely new meaning. The bass is not simply a har?monic idea but an expressive melody that develops its full potential as it acquires succes?sive countermelodies that place it in a new light every time. Unlike some of Shostakovich's great symphonic passacaglias (the most famous being those in Symphcmy No. 8 and Violin Concerto No. 1), this one stays soft and subdued through?out, only rarely reaching forte dynamics. The finale follows without a break, with a simple melody in the viola against sustained notes in the violin and cello, followed by an expressive second theme, also played by the viola. Seemingly innocuous, this melodic material undergoes an extensive development and finally erupts in a massive climax, at which point the passacaglia theme from the third movement reappears in triple forte the transformation that was withheld earlier. Relief arrives with the unexpected switch to a slower tempo, in which the first movement's opening melody reappears, ushering in the gentle and delicate conclusion.
1 The Polish-born composer and pianist Moisei (Mieczyslaw) Weinberg was another close friend of Shostakovich; they frequently collaborated as piano-duet partners.
String Quartet No. 12 in F Major, Op. 96
Antonin Dvorak
Born September 8, 1841 in Muhlhausen,
Bohemia Died May 1, 1904 in Prague
With his F-Major Quartet, Dvorak wanted to create "something very melodious and simple," as he told his colleague Josef B. Foerster in a let?ter written two years after composing the work. Yet in a fine essay, musicologist Alan Houtchens called the quartet "the most radical, forward-looking composition Dvorak ever wrote." What led Houtchens to this conclusion was, above all, the remarkable complexity of the quartet's tex?tures as shown by the unusually varied inter?play of the four voices. Simple in some respects, this beloved masterpiece is also as sophisticated as any of the great quartets in the literature.
Not the least of its wonders is how two very distant parts of the world, America and Bohemia, seem not only to coexist peacefully in its four movements but even to achieve a higher degree of unity through sound. The work's melodic style was undoubtedly influenced by the Negro spirituals Dvorak encountered in America. Yet the pentatonic scale, which is a prominent feature in many of those spirituals, was not exactly new to Dvorak, who had used it in several of his earlier works. Therefore, we can say that Dvorak responded to those features of American music that resonated with what he already knew intimately. It is revealing that the famous "American" theme with which the quar?tet opens is nothing but a pentatonicized ver?sion of a melody from one of the Slavonic Dances (Op. 72, No. 1).
The circumstances of the quartet's genesis are American and Czech at the same time: Dvorak spent the summer of 1893 with the Bohemian community in Spillville, Iowa. Greatly enjoying the rural calm of this small town after a whole year spent with hard work as the director of the National Conservatory in New York, Dvorak felt completely rejuvenated. He was surrounded by his entire family (wife
and six children) and an admiring group of fel?low countrymen, and spent what was without a doubt one of the happiest times of his life.
That happiness is expressed in the unmis?takable "pastoral" tone of the quartet's opening (which, by the way, continues the tone of such earlier works as Symphony No. 8 and the over?ture In Nature's Realm). The quartet opens with the "awakening of happy feelings upon arrival in the country"to quote the inscription of the first movement of Beethoven's "Pastoral" Symphony, with which Dvorak's work shares the key of F Major. As in the Beethoven, the sustained drones, with their lack of harmonic change, symbolize "standing still in a beautiful place," as Michael Beckerman puts it in his book New Worlds of Dvorak. But Beckerman also points out that there are several different kinds of pastoral feelings in the quartet (just as there are in Beethoven's Symphony No. 6) the contemplative mood is relieved by more active moments where the music "threatens to explode the ensemble with pure abandon."
The work's four movements explore many facets of the musical pastorale but, very signifi?cantly, they are connected by numerous the?matic links creating a strong sense of inner unity. The most noticeable of these is a three-note motive, derived from the pentatonic scale that is present in all four movements in an almost identical form, yet receives an entirely different musical coloring each time. Entirely consistent with the idea of the pastorale is the presence of a birdcall (the analogy with Beethoven is, once again, striking); Dvorak's assistant reported that the composer had repro?duced the song of a bird he had heard during one of his early morning walks in Spillville. This birdcall, which occurs early in the third-movement scherzo, has been said to belong to the scarlet tanager.
Of course, the work also has its darker, or more solemn, moments, especially in the slow movement, commonly interpreted as a lament, the trio of the scherzo, or the extended slow episode in the otherwise quite rambunctious dance finale. The dean of Dvorak scholars, Otakar Sourek, heard in this slow episode an
echo of the organ at the village church, where Dvorak played for Mass every morning during his stay in Spillville. But in the end, these intro?verted moments merely serve as foils to the general sense of happiness so rare in the music of the late-19th century that pervades this extraordinary work.
Program notes by Peter Laki.
One of the most dynamic and exciting young quartets currently perform?ing, the Jerusalem Quartet has already attracted a vast amount of international acclaim. Celebrating their 10th anniversary in the current season, the quartet was founded within the framework of the Young Musicians' Group of the Jerusalem Music Centre and the America-Israel Cultural Foundation in cooperation with the Conser?vatory of the Jerusalem Rubin Academy of
Music and Dance, where they studied under Avi Abramovich.
Recipients of the first Borletti-Buitoni Trust Award in 2003, the Jerusalem Quartet performed concerts in London, at the Vienna Konzerthaus, and at the Amsterdam Concertgebouw with Mitsuko Uchida and other award winners in September 2004. They were also part of the first BBC New Generation Artists scheme between 1999 and 2001 and received First Prize in 1997 at the Franz Schubert and the Music of the 20th Century Competition in Graz, Austria when they performed Kurtag's Twelve Microhides and Bart6k's Quartet No. 6. They were also awarded First Prize at the Jerusalem Academy Chamber Music Competition in 1996.
Regular performers throughout the world, they are frequent visitors to London's Wigmore Hall, Amsterdam Concertgebouw, and the Herkulessaal Munich. They have also per?formed at the Berlin Konzerthaus, Zurich Tonhalle, Dusseldorf Tonhalle, Bolshoi Hall
Jerusalem Quortet
Moscow, Carnegie Hall, Tisch Center New York, at one of the inaugural concerts of Daniel Libeskind's Jewish Museum in Berlin, the Vancouver Playhouse, the Ravinia Festival's Rising Stars series in Chicago, and Dvorak Hall, Prague. A tour of Italy included Florence, Milan, and Pisa. An extremely successful tour of Australia and New Zealand led to an immediate re-invitation and they returned in Spring 2004 to critical acclaim.
Future plans include a Shostakovich cycle for 2006 to mark the centenary of the compos?er's birth, which they will take to Amsterdam's Concertgebouw, London's Wigmore Hall, Berlin Konzerthaus, and the Vancouver Recital Series. Further highlights include a performance of Beethoven quartets as part of the gala concert to celebrate the composer's birthday at the Beethovenhalle in Bonn. They will also return to the Zurich Tonhalle, Vienna Konzerthaus, and Paris Chatelet and perform at the Salzburg
Mozarteum, Gulbenkian Foundation in Lisbon, Kennedy Center, and at the Zeist International Music Days, where they are quartet-in-residence.
Their recordings include two CDs of Beethoven, Haydn, and Shostakovich, and a recording of the Schumann Piano Quintet with Jonathan Biss for BBC Music Magazine as part of a feature on the Borletti-Buitoni Trust. Their debut recording for EMI, including works by Shostakovich and Tchaikovsky, was released in Spring 2001. A recording of Haydn repertoire -the first of a series of discs for Harmonia Mundi was released in Spring 2004, and their recording of three Shostakovich quartets is due for release this year.
Tonight's performance marks the Jerusalem Quartet's UMS debut.
JMS 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 www.ums.org.
February
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
March
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
April
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
May
Sat 14 Ford Honors Program: Guarneri String Quartet
UMS EDUCATION PROGRAMS
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 www.ums.org 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 www.ums.org. For immediate information, e-mail umsed@umich.edu, 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 umsed@umich.edu. 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 umsyouth@umich.edu.
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
Malouma
Teacher Workshop Series
(UMS offers two types of K-12 Educator iWorkshops: 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 umsyouth@umich.edu.
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.
UMS PREFERRED RESTAURANT S BUSINESS PROGRAM
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 Main668.8812
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
Zanzibar
216 South State 994.7777
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 www.ums.org.
UMS support
JMS 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.
ADVISORY COMMITTEE
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.
SPONSORSHIP & ADVERTISING Advertising
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.
Sponsorship
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 & COLLEGE WORK-STUDY
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.
USHERS
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 fohums@umich.edu.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
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.
SOLOISTS
$25,000 or more
Robert and Pearson Macek Philip and Kathleen Power
MAESTROS
$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
VIRTUOSI
$7,500-$9,999
Michael Allemang
Kathy Benton and Robert Brown
Pauline De Lay
Toni M. Hoover
Doug and Sharon Rothwell
CONCERTMASTERS
$5,000-$7,499
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
Concertmasters, cont.
Robert and Gloria Kerry Dr. and Mrs. Richard H.
Lineback
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
PRODUCERS
$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
LEADERS
$2,500-$3,499
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
PRINCIPALS
$1000-$2,499
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 Al Dodds
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Burton Tower Society
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Endowed Funds
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H. Gardner Ackley
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The "Michigan Difference" mpkes p difference for ums.
The Cpmpsign for the University Musical Society is about the people who attend our performances and who support us. The following people are a few of our dedicated individual supporters who have made a commitment to the future of UMS through a planned gift: Carol and Herb Amster, Maurice and Linda Binkow, Carl and Isabelle Brauer, Barbara Everitt Bryant, Ken and Penny Fischer, Beverley and Gerson Geltner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
YOU CON MOKE 0 DIFFERENCE, TOO.
With a charitable gift to UMS, you can preserve for future generations the quality of our artistic programming and enrich?ing educational events. University of Michigan's investment professionals will expertly manage your gift and work with you and your financial advisor to help you select the plan that's best for you. Whatever you choose, your gift will make a difference and will continue the world-class standards of the University Musical Society.
Coll 734-647-1178 to start a conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.
ums fcl
?? ? Difference
CAMPAIGN FOR WCMOAN
UMS
presents
La Capella Reial de Catalunya
and
Le Concert des Nations
Jordi Savall, Artistic Director
Music and Songs of Love and War
Miguel de Cervantes The Music of Don Quixote
El villano (instrumental) Antonio Martin y Coll
Romance del Conde Claros: A media noche era por filo Francisco Salinas
Narrador:
Media noche era por filo los gallos querian cantar conde Claros con amores no podia reposar.
Dando muy grandes sospiros que el amor le hazia dar por amor de dara nina no le dexa sosegar.
Quando vino la manana que queria alborear salto diera de la cama que parece un gavilan.
Traele un rico cavallo qu'en la corte no ay su par que la silla con el freno bien valia una ciudad.
Y vase para el palacio para el palacio real a la infanta Claranina alii la fuera hallar.
Claranina:
"Conde Claros conde Claros el sefior de Montalvan como aveys hermoso cuerpo para con Moros lidiar."
Narrator:
It was the stroke of midnight the cocks are wanting to sing Count Claros in the toils of love could not find rest.
He heaves great sighs for love causes him great grief and the love of Claranina will not let him have peace.
When the morning came when dawn was abaut to break he leapt out of bed that it seems a sparrowhawk.
He brought him a magnificient horse peerless in the court whose saddle and bridle were well worth a town.
He rode to the palace to the royal palace Princess Claranina he came upon there.
Claranina:
"Count Claros, Count Claros
lord of Montalvan
what a handsome body you have
to fight with Moors."
Please turn page quietly
Conde Claros: "Mi cuerpo tengo seflora para con damas holgar si y'os tuviesse esta noche seflora a mi mandar."
Claranina:
"Calledes, conde, calledes y no os querais alabar el que quiere servir damas assi lo suele hablar."
Conde Claros: "Siete aflos son pasados que os empece de amar que de noche yo no duermo ni de dia puedo holgar."
Narrador:
Tomara la por la mano para un vergel se van a la sombra de un acipres debaxo de un rosal.
De la cintura arriba
tan dulces besos se dan
de la cintura abaxo
como hombre y muger se han.
Por ay passo un cacador que no deviua de passar, vido estar al conde Claros con la infanta Abel holgar.
El cacador sin ventura vase para los palacios a do el buen rey esta:
Cacador:
"Una nueva yo te trayo."
Narrador:
El rey con muy gran enojo
mando armar quinientos hombres
para que prendan al conde
y le hayan de tomar.
Metieron le en una torre de muy gran oscuridad las esposas a las manos qu'era dolor de mirar.
Conde Claros:
"I have my body, my lady
to spend leisure time with ladies
if I had you this night
my lady, at my command."
Claranina:
"Be silent, Count, be silent
do not praise yourself so highly
those who seek to serve fine ladies
often speak like that."
Conde Claros:
"Seven years have passed since 1 began to love you neither can I sleep by night nor by day take my ease."
Narrator:
He took her by the hand
and they made their way to a garden
in the shadow of a cypress
beneath a rose bush.
Above the waist
they kissed each other sweetly
below the waist
they joined like man and maid.
A hunter passed by there and it was by chance that he did, there he saw Count Claros with the Princess in merry sport.
But the luckless hunter
he went straight to the palace
where the good King was to be found:
Cacador:
"The news that I bring you."
Narrator:
The King, with great rage
and ordered five hundred men be armed
to go apprehend the Count
and take him into custody.
They cast him in a tower where it was as dark as night and shackles fastened to his wrists grievous to behold.
Rey:
"Amigos y hijos mios,
ya sabeys quel conde Claros
mirad en que fue a tocar
que quiso foliar la infanta."
Narrador:
Todos dizen a una boz que lo hayan de degollar y assi la sentencia dada el buen rey la fue a firmar.
La infanta qu'esto oyera en tierra muerta se cae, damas duenas y donzellas no la pueden retornar.
Claraniiia:
"Mas suplico a vuestra alteza que se quiera consejar que los reyes con furor no deven de sentenciar."
Narrador:
El buen rey que esto oyera comenijara a demandar. El consejo que le dieron que le aya de perdonar.
Todos firman el perd6n, ya lo mandan desferrar, los enojos y pesares en plazer ovieron de tornar.
Rey:
"My dear friends, and children
you well know of Count Claros
see what it was
he wanted to force the Princess."
Narrator:
They all cry out in unison
that he should be beheaded
the sentence being delivered
the good King set his hand to sign it.
The Princess, hearing these words fell to the ground in a swoon, ladies and maids of honor were unable to bring her round.
Claranina:
"But I beseech Your Majesty
that you remember
for Kings should not in a rage
give judgement on a case."
Narrator:
The King, when he heard this
at once began to ask.
And the advice they gave him was
that he should pardon the Count.
They all sign the pardon, pardoned at once, the rages and burdens turn into happiness.
Romance viejo de Lanzarote: Nunca fuera caballero de damas Anonymous
Nunca fuera caballero de damas tan bien servido como fuera Lanzarote cuando de Bretafla vino: doncellas curaban d'el; y duenas de su rocino, esa duena Quintanona, esa le escanciaba el vino, la linda reina Ginebra se lo acostaba consigo. Estando al mejor sabor, que sueno no habia dormido, la reina toda turbada movido le ha un partido: Lanzarote, Lanzarote, si antes fueades venido no dijera el Orgulloso las palabras que habia dicho: que mataria al rey Artus y aun a todos sus sobrinos y a pesar de vos, senor, ?1 dormiria conmigo. -Lanzarote que lo oy6 gran pesar ha recebido, lleno de muy grande enojo sus armas habia pedido; arm6se de todas ellas, de la reina se ha partido, va a buscar al Orgulloso, hallalo bajo de un pino. Combatense de las lanzas, a las hachas han venido; de la sangre que les corre todo el campo esta tenido. Ya desmaya el Orgulloso, ya cae en tierra tendido, cortado le ha la cabeza sin hacer ningun partido. Tornose para la reina de quien fue bien recebido.
Old Ballad of Lancelot: Never was a gentleman so well served by the ladies
Never was a gentleman so well served by the ladies as Lancelot was
when he came back from Britain: maidens nursed his wounds; and maidens those of his horse, that maiden, Quintaflona, she, poured the wine for him, beautiful queen Guinevere was leaning him against her. It was such a great feeling, for he had not had much sleep, the queen all disturbed took him aside and said: Lancelot, Lancelot, if you had come earlier the Arrogant wouldn't have said the words that he has said: that he would kill King Arthur and even all of his nephews and that in spite of you, my lord, he would sleep with me. -Having heard this, Lancelot felt great sorrow, filled with great anger he requested his weapons; armed himself with all of them, of the queen has departed, goes in search of the Arrogant, finds him under a pine tree. They battle with their lances, then they use their axes; the blood that runs from them has stained the whole field. The Arrogant falters already, already falls unconscious, he has cut his head off without taking any advantage. He returned to the Queen who received him very well.
Chacona a la vida bona: Un sarao de la chacona
Juan Aranes
[Note: Selected stanzas may be performed.
Un sarao de la chacona se hizo el mes de las rosas, huvo millares de cosas y la fama lo pregona.
A la vida, vidita bona, vida, vamonos a Chacona.
Porque se caso Almadan, se hizo un bravo sarao, danzaron hijas de Anao con los nietos de Milan. Un suegro de don Beltran y una cunada de Orfeo comenzaron un guineo y acabolo una amazona y la fama lo pregona.
Salio la Cagalagarda con la mujer del Ruelenque y de Zamora el Palenque con la pastora Lisarda, la mezquina dona Abarda trepo con pasta a Gonzalo y un ciego dio con un palo tras la braga lindona y la fama lo pregona...
Salio el Medico Galeno con chapines y corales, y cargado de atabales el manso Diego Moreno, el enganador Vireno salio tras la Tragamalla y el amante de Cazalla con una moza de Arjona y la fama lo pregona...
Salio Ganasca y Cisneros con sus barbas chamuscadas, y dandose bofetadas Anajarte y Oliveros. Con un sartal de torteros salio Esculapio el doctor y la Madre del Amor puesta la ley de Bayona y la fama lo pregona...
A chacona soiree
was celebrated in the month of roses, there were millions of things to see and fame announces it
[everyone is talking about it].
To the good life, the very good life, let's all go to Chacona.
Because Almadan got married they gave an elegant soiree, the daughters of Anao danced with the grandsons of Milan. A father-in-law of Mr. Beltran and a sister-in-law of Orfeo began to dance a guineo and it ended with an amazona, and everyone is talking about it.
Madame Cagalagarda came out
with the wife of Mr. Ruelenque
And Mr. Palenque from Zamora
with Lisarda the shepherdess,
stingy Mrs. Abarda tripped Gonzalo
with bullion [tricked him out of his money]
and a blindman with a stick set off
after the lovely underpants
and everyone is talking about it...
Dr. Galenus came wearing
clogs and a necklace of coral
and, loaded down with drums,
the meek Diego Moreno.
The trickster Vireno
went out after Lady Glutton
and Mr. Cazalla's [hunt-her-down's] lover
came with a floosy from Arjona
and everyone is talking about it...
Ganasca and Cisneros [the actors] came out
with their beards all singed,
and Anajarte and Oliveros
were hitting each other.
Dr. Esculapio [Asdepius] came out
with a necklace of baking pans,
and the Mother of Love
wearing the law of Bayona
and everyone is talking about it...
Please turn page quietly
Sali6 la Raza y la Traza todas tomadas de orin, y danzando un matachin el Oftate y la Viaraza. Entre la Raza y la Traza se levanto tan gran lid, que fue menester que el Cid les bailase una chacona y la fama lo pregona...
Sali6 una carga de Aloe con todas sus sabandijas; luego vendiendo alejijas salio la Gruella en un pie. Un Africano sin fe un Negro y una Gitana cantando la dina dana y el Negro la dina dona y la fama lo pregona...
Entraron treinta Domingos con veinte lunes a cuestas y cargo con esas cestas un asno dando respingos. Juana con Tingolomingos salio las bragas enjutas y mas de cuarenta putas huyendo de Barcelona. Y la fama lo pregona...
Sonata Concertata XX: Ciaccona (instrumental) Aria sopra la Ciaconna: Su la cetra amorosa Tarquinio Merula
Su la cetra amorosa
In dolce e lieto stile
lo non pensavo mai di piu cantar.
Ch'anima tormentosa
In suon funesto humile
Dovea pianger 'mai sempre e sospirar.
Pur da nova cagion
Chiamato son d'amor al cant'e al suon.
lo, ch'amante infelice
Ceneri fredde a pena
Dal rogo riportai d'infaust'amor
Sento che piu non lice
Con roca e stanca lena
Narrar le fiamme antich'el vecchio ardor.
Hora che novo sol'
M'accende e vuol ch'io di lui canti sol.
Raza and Traza came out
Enflamed with lust,
And Oflate danced a matachin
with Miss Viaraza.
There was such a contest between
lineage (Raza) and looks (Traza), that it was
necessary for El Cid himself
to dance a Chacona,
and everyone is talking about it...
There came a load of aloes
full of creepy-crawlies,
then out hopped Miss Stork on one foot
selling rye fritters.
A heathen African,
a Negro and a Gypsy-girl
singing the dina dana
and the Negro dina done her
and everyone is talking about it...
Thirty Sundays came with
twenty Mondays on their backs
and all these baskets
were carried by a stubbornly kicking donkey.
Juana with Tingolomingos
came out in tight-fitting pants
and more than forty whores
fleeing from Barcelona.
And everyone is talking about it...
(Translation OLouise K. Stein.)
On the Amorous Lyre
On the amorous lyre
I thought I would never again sing
Sweetly and gladly.
For the tortured soul
Must always lament and sigh,
In low, melancholy tones.
Yet now I am called by a new reason
To the song and music of love.
I, unhappy lover
Who barely brought back cold ashes
From the tomb of ill-omened love:
I feel that no longer should
My hoarse and weary voice
Tell of my old fires and antique passion,
Now that a new Sun
Warms me, and desires that I sing of her only.
Questa lacera spoglia
D'un cor trafitto ed arso,
Miserabile arcanzo dei martir
Invece che l'accoglia
Povero avello e scarso
Amor tiranno anche pur vuol ferir.
Eccomi fatto egual
Scuopo al suo stral dispietato e mortal.
Io non intesi mai
Che si tragga di tomba
Nemico estinto a farli guerra piu
E pur amor omai
Sona guerriera tromba
Pur contro chi d'amor gia morto fu.
Ecco a battaglia me
Rappella, ahime, d'amor, d'onor, di ft.
Ei potea pur lasciarmi
Sepolt'infra i cipressi
O nel sasso d'Elisa algente e dur.
E con piii gloria l'armi
Volger contro quei stessi
Cori ch'al regno suo rubelli fur.
E in pace me lasciar
Dopo il penar mort'almen riposar.
Pur se di nuovo vuoi
Ch'io porti il cor piagato
Di tue quadrella, o dispietato arcier
S'ancor da lacci tuoi
Mi vuoi prese legato
E vuoi ch'avampi del tuo fuoco, o fier
Deh, meco almen fa si
Ch'arda cosi colei che mi ferl.
E se tu vuoi ch'io canti
Nove fiamme altri ardori
E divina belta scesa dal ciel
Fa si ch'anch'io mi vanti
D'esser tra casti allori
Degno di non morir sempre di gel
Ch'i piu canori augei
Io emulerei si dolci canterei.
Galliard Battaglia (instrumental) Samuel Scheidt
These torn spoils
Of a heart all pierced and burned, the
wretched Container of my torments -
Instead of allowing them
To be brought to a poor, scant grave,
Tyrant Love wants to strike them again!
Behold me, made
A target of his pitiless and deadly arrow.
Never have I heard
Of a dead enemy's being removed
From a tomb to be fought against further.
Yet love now
Sounds the trumpet of war,
Even against one already dead of love.
Behold me, called again,
Alas, to the battle of love, of honor, of faith.
He might have left me
Buried beneath the cypresses,
Or in the chill, hard rock of Elysium.
And with greater renown
Directed his weapons against the hearts
That had resisted his power,
And at least have let me in rest
In peace once dead.
Yet if again you want me
To bear the wound
Of your arrow, O pitiless archer,
If you want me still to be bound
By your snares,
To flare up with your fire, O proud one:
At least, ah, at least let her also burn
Who wounds me so.
And if you want me to sing
Of new fires and other passions,
Of divine beauty come down from Heaven -
Then see to it that I too may boast,
Of being among the chaste laurels,
Of being worthy not to die forever of cold.
For I would rival the most songful birds,
So sweetly I would sing.
(Translation by Lawrence Roscnwald.)
Sinfonia (instrumental) Combattimento di Tancredi e Clorinda Claudio Monteverdi
Testo:
Tancredi che Clorinda un uomo stima
Vuol ne I'armi provarla al paragone.
Va girando colei l'alpestre cima
Verso altra porta, ove d'entrar dispone.
Segue egli impetuoso; onde assai prima
Che giunga, in guisa awien che d'armi suone.
Ch'ella si volge, e grida:
Clorinda:
O tu. che porte, correndo si
Testo: Risponde:
Tancredi:
E guerra e morte.
Clorinda:
Guerra e morte avrai!
Testo: Disse,
Clorinda:
10 non rifuto darlati, se la cerchi -e ferma attende.
Testo:
Non vuol Tancredi che ch' ebbe a pie veduto
11 suo nemico, usar cavallo, e scende. E impugna 1'un'e Paltro il ferro acuto, Ed aguzza l'orgoglio, e l'ire accende;
E vansi incontro a passi tardi e lenti Che due tori gelosi e d'ira ardenti.
Notte, che nel profondo oscuro seno Chiudesti e nell'oblio fatto si grande, Degne d'un chiaro sol, degne d'un pieno Teatro, opre sarian si memoranda -
Piacciati ch'indi il tragga e'n bel sereno Alle future eta lo spieghi e mande. Viva la fama lor!; e tra lor gloria Splenda del fosco tuo l'alta memoria.
The Battle Between Tancredi and Clorinda
Narrator:
Tancredi, thinking Clorinda to be a man,
Challenges her to a battle.
She, however, tries to escape around a hill,
Hoping to enter the city by another gate.
He chases her, the noise of his rattling armor Giving away his approach even from afar. She stops and calls out:
Clorinda:
What are you bringing Why in such a hurry
Narrator: He answers:
Tancredi: War and death!
Clorinda:
War and death you shall have!
Narrator: Says she,
Clorinda:
You shall have what you want -
I await.
Narrator:
Tancredi, seeing that his enemy is not mounted
Gets down from his horse.
Burning with pride and fury,
Both grab their shining swords;
Slowly and stealthily they approach each other, Like rival bulls, blinded by jealousy and anger.
Night, which obscured in the darkness This memorable and great deed, A deed worthy of the sun's brilliance, Of a theatre filled with spectators -
Let me atone for your negligence
And bring it to light for posterity.
Long live its fame! May it shine forth
From the depths of darkness and glory forever.
Non chivar, non parar. non pur ritrarsi Voglion costor, ne qui destrezza ha parte. Non danno i colpi or finti, or pieni or scarsi: Toglie l'ombra e' 1 furor l'uso dell'arte. Odi le spade terribilmente urtarsi A mezzo il ferro: il pie d'orma non parte: sempre e il pie fermo e la man sempre in moto; Ne scende taglio in van, ne punta a voto.
L'onta irrita lo sdegno alia vendetta. E la vendetta poi l'onta rinova: Onde sempre al ferir, sempre alia fretta Stimol novo s'aggiunge e piaga nova. D'or in hor piu si mesce, e piu ristretta Si fa la pugna: e spada oprar non giova.
Dansi con pomi, e infelloniti e crudi Cozzan con gli elmi insieme e con gli scudi.
Tre volte il cavalier la donna stringe Con le robuste braccia, e altrettante poi Da quei nodi tenaci ella si scinge, Nodi di fier nemico e non d'amante. Tornano al ferro, e l'uno e l'altro il tinge Di molto sangue: e stanco ed anelante E questi e quegli al fin pur si ritira, E dopo lungo faticar respira.
L'un l'altro guarda, e del suo corpo esangue Sul porno de la spada appoggia il peso. Gia de 1'ultima Stella il raggio langue Sul primo arbor ch'e in oriente acceso. Vede Tancredi in maggior copia il sangue Del suo nemico e se non tanto offeso. Ne gode e insuperbisce. Oh nostra folle Mente, ch'ogni aura di fortuna estolle!
Misero, di che godi Oh quanto mesti Fiano i trionfi, ed infelice il vanto! Gli occhi tuoi pagheran (se in vita resti) Di quel sangue ogni stilla un mar dipianto. Cosi tacendo e rimirando, questi Sanguinosi guerrier cessaro alquanto. Ruppe il silenzio al fin Tancredi e disse, Perche il suo nome l'un altro scoprisse:
Tancredi:
Nostra sventura e ben che qui s'impieghi Tanto valor, dove silenzio il copra. Ma, poi che sorte ria vien che ci nieghi E lode e testimon degni de l'opra, Pregoti (se fra l'armi han loco i preghi) Che '1 tuo nome e '1 tuo stato a me tu scopra, Accio ch'io sappia, o vinto o vincitore, Chi la mia morte o la mia vita onore.
They neither ward off nor evade blows; They shun skill, and neither see nor care Whether they hit or miss, so blind are they Through their fury and the darkness of night. The terrible sound of crashing metal is heard; Neither retreats even one pace. With feet firm and arms continually swinging Seldom does a blow or thrust fall in vain.
Shame tums their anger to revenge.
Revenge, however, renews their shame,
So that their will to fight
Becomes even stronger and wilder.
The two opponents converge upon each other,
The righting intensifies: the sword itself is useless
They resort to hitting each other pitilessly With handle, helmet and shield.
Three times the knight grabs the woman With his powerful arm, and each time She tears herself with hatred out of his grasp, The embrace of an enemy, not a lover. They return to using their swords, and again New blood stains their blades, until exhausted They finally withdraw to regain their breath After the long and bitter struggle.
They look at each other, their wounded bodies Laboriously leaning against their swords. The last star's light pales gradually As the dawn appears in the east. Tancredi now sees how much blood is flowing From his enemy; he himself is less harmed. This fills him with joy and pride. Oh folly, How you rise at the slightest breath of fortune!
Wretch, what gives you such pleasure How sorrowful your triumphs, how fatal your pride! Your eyes will pay for every drop of blood (Should you live) with a sea of tears. Silently watching each other The two bleeding warriors rest a moment. Tancredi finally breaks the silence Wanting to know the name of his opponent:
Tancredi:
Truly, it is unjust that we should have to fight So bravely, with silence as our only prize. But, as history decrees that no-one should Witness our battle, or proclaim our fame, I pray you (if such a request be allowed) To disclose your name and rank to me So that I may know, in any event, To whom I owe my death or my victory.
Please turn page quietly
Testo:
Rispose la feroce:
Clorinda:
Indarno chiedi quel ch' ho per uso di
non far palese.
Ma chiunque io mi sia, tu innanzi vedi
Un di quei duo che la gran torre accese.
Testo:
Arse di sdegno a quel parlar Tancredi:
Tancredi:
E in mal punto il dicesti
E '1 tuo dir e '1 tacer di par m'alletta,
Barbara discortese, alia vendetta.
Testo:
Torna l'ira nei cori e li trasporta Benche deboli, in guerra. A fiera pugna! UTarte in bando, u'gia la forza e morta, Ove, in vece, d'entrambi il furor pugna! Oh che sanguigna e spaziosa porta Fa l'una e l'altra spada, ovunque giugna Ne l'armi e nelle carni! e se la vita Non esce, sdegno tienla al petto unita.
Ma ecco omai, l'ora fatal e giunta Che'l viver di Clorinda al suo fin deve. Spinge egli il ferro nel bel sen di punta, Che vi s'immerge e '1 sangue avido beve; E la veste, che d'or vago trapunta Le mammelle stringea tenera e lieve, L'empie d'un caldo fiume. Elle gia sente Morirsi, e 'I pie le manca egro e languente.
Segue egli la vittoria, e la trafitta Vergine minacciando incalza e preme. Ella mentre cadea, la voce afflitta Movendo, disse le parole estreme: Parole, ch'a lei novo spirio addita, Spirito di fe, di carita, di speme: Virtu che Dio l'infonde, e se rubella In vita fu, la vuol in morte ancella.
Clorinda:
Amico, hai vinto: io ti perdon...perdona Tu ancora, al corpo no che nulla pave. A Talma si: deh! per lei prega, e dona Battesmo a me ch'ogni rnia colpa lave.
Narrator:
Fiercely she answers:
Clorinda:
You try in vain, if you attempt to learn That which I have never yet disclosed. But, whoever I may be, you see before you One of the two who set fire to the great tower.
Narrator:
Tancredi flies into a fury at these words:
Tancredi:
You chose the wrong moment to tell me this! Your words, as well as your silence, Provoke me to revenge, you barbarian.
Narrator:
Anger retums to their hearts, and flings them,
In spite of their weakness, into battle again.
O furious fighting, artless and without strength
Only anger still fights!
Oh what bloody and cavernous wounds
Are struck by those swords, one like the other,
In armor and flesh! If life has not yet left them
It's only because anger sustains it.
But behold, the fatal moment approaches, Clorinda's life is drawing to a close. He thrusts the sword's point into her breast, It plunges deep, and greedily drinks her blood; Her gown, woven through with gold, Softly and gently unfolds her breasts, Soaked in a hot, flowing stream. She feels Death approaching, her swaying feet give way.
Tancredi pursues his victory, threatening and Harrassing the fatally wounded maiden. She sinks to the ground, and with a voice In agony utters her last words: Words inspired in her by a new spirit, A spirit of faith, of charity, of hope; God has given her this spirit. She who had in Life rebelled, shall in death be His servant.
Clorinda:
Friend, you have won: I forgive you...forgive Me too, though not my body, which lacks fear, But my soul. Oh pray for it and give me Baptism, that I may be cleansed from sin.
Testo:
In queste voci languide risuona
Un non so che di flebile e soave
Ch'al cor gli scende ed ogni sdegno ammorza,
E gli occhi a lagrimar gli invoglia e sforza.
Poco quindi lontan nel sen d'un monte Scaturia mormorando ou picciol rio. Egli v'accorse e l'elmo empie nel fonte, E torn6 mesto al grande ufficio e pio. Tremar senti la man, mentre le fronte Non conosciuta ancor sciolse e scoprio. La vide e la conobbe; e resto senza E voce e moto. Ahi vista! Ahi conoscenza!
Non mori gia, che sue virtuti accolse Tutte in quel punto, e in guardia al cor le mise, E premendo il suo affanno a darsi volse Vita con l'acqua chi col ferro uccise. Mentre egli il suon de 'sacri derti sciolse. Colei di gioia trasmutossi, e rise; E in atto di morir lieta e vivace, dir parea:
Clorinda:
S'apre il ciel: io vada in pace.
Passacaglio (instrumental) Biagio Marini
Lamento della Ninfa Claudio Monteverdi
Non havea Febo ancora
Non havea Febo ancora Recato al mondo il di, Ch'una donzella fuora Del proprio albergo usci,
Sul pallidetto volto Scorgeasi il suo dolor. Spesso gli venia sciolto Un gran sospir dal cor.
Si calpestando fiori Errava hor qua, hor la, I suoi perduti amori Cosi piangendo va.
Narrator:
The pitiful voice sounded so sweet and sad
That it moved his heart
And melted his anger:
His eyes filled with tears.
Nearby, nestled in the hills,
A tiny, murmuring brook could be heard.
He rushed to it, filled his helmet
And sadly returned to perform the holy rite.
His hand trembled, as he uncovered the
Unknown face. He gazed upon it,
Recognized it, staring immobile, speechless.
How horrible the sight! The recognition!
Yet he did not die; he summoned all his power To keep guard around his heart, and Overcoming his fear, tried with water to give Back life to her whom his sword had pierced. As he spoke the holy words, Her face was transformed with joy, she smiled, And while dying, happy and radiant, seemed to say:
Clorinda:
The gates of heaven are open; I go in peace.
(Translation by Ian Malkin.)
Phoebus had not yet
Phoebus had not yet Brought the world the day, That a young girl out Of her house flew
On her pale face
Her sorrow stood,
And often escaped
A great sigh from her heart.
So, treading on flowers, She wanders here and there, Her lost lovers And so crying she goes.
PlttUe tum page quietly
Lamento della Ninfa
"Amor, dov'e la fe' Ch'el traditor giuro Amor," dicea; il ciel Mirando, il pie fermo,
"Fa che ritorni il mio Amor com'ei pur fu, O tu m'ancidi, ch'io Non mi tormenti piu.
Non vo' piu ch'ei sospiri Se non lontan da me, No, no che i suoi martiri Piu non dirammi affe.
Perche di lui mi struggo, Tutt'orgoglioso sta, Che si, che si se'l fuggo Ancor mi preghera
Se ciglio ha piu sereno Colui che'l mio non e, Gia non rinchiude in seno Amor si bella fe'!
Ne mai si dolci baci Da quella bocca havra, Ne piii soavi ah, taci, Taci, che troppo il sa."
(Miserella!, ah piii no, no, Tanto gel soffrir non puo.)
Si tra sdegnosi pianti
Si tra sdegnosi pianti Spargea le voci al ciel. Cosi ne' cori amanti Mesce amor fiamma, e gel.
Fantasia "Les Pleurs d'Orphee" (instrumental) Luigi Rossi
A Nymph's Lament
"Love, where is the faith That the traitor swore Love," said the sky Looking at the still foot.
"Let him come back As pure as he was, Or kill me so that I don't suffer any more.
I do not want him to sigh If not away from me; No, no, nor that he suffers If not to woo me.
Because I long for him Proud he remains, But if I leave Again he will beseech me
If a more serene look
Than mine another woman wears,
She cannot nurture,
Love's, such pure faith!
And never such sweet kisses Never from that mouth you will have Nor smoother oh, say no more, No more, lest he knows too much."
(Poor me, oh, no, no,
So much pain I cannot bear.)
So among disdainful tears
So among disdainful tears Sent cries to the sky, So in loving hearts Makes love flame and ice.
(Translation by Anna Maria Pherson.)
La barca del mio Amore (instrumental) Giacomo Gorzanis
Tirsi e Clori
ballo concertato con voci et strumenti a 5
Claudio Monteverdi
Tirsi:
Per monti e per valli, Bellissima Clori, Gia corrono a balli Le Ninfe e Pastori. Gia lieta e festosa Ha tutto ingombrato La schiera amorosa II seno del prato.
Clori:
Dolcissimo Tirsi, Gia vanno ad unirsi, Gia tiene legata L'amante l'amata. Gia movon Concorde II suono a le corde. Noi soli negletti Qui stiamo soletti.
Tirsi:
Su, Clori, mio core, Andianne a quel loco, Ch'invitano al gioco Le gratie ed amori Gia Tirsi distende La mano e ti prende, Che teco sol vole Menar le carole.
Clori:
Si, Tirsi, mia vita, Ch'a te solo unita Vo girne danzando, Vo girne cantando. Pastor, benche degno, Non faccia disegno Di mover le piante Con Clori sua Amante.
Clori e Tirsi: Gia, Clori gentile, Noi siam' ne la schiera. Con dolce maniera Seguiam il lor stile. Balliam' ed intanto Spieghiamo col canto, Con dolci bei modi Del ballo le lodi.
Tirsi and Clori
Tirsi:
Up mountains, down valleys,
My beautiful Clori,
The nymphs and the shepherds
Now hast to the dancing.
Now happy and festive
The amorous lovers
From all parts assembled
Are thronging the field.
Clori:
Now see, my sweet Tirsi,
They join one another,
They hold one another,
Each lover his lover.
Now the strings are in harmony
Sounding together.
Only we are forgotten
Who stay back alone.
Tirsi:
Up, Clori, my dear one. And now let us go where The graces, the cupids Invite us to frolic. Now Tirsi extends you His hand and he takes you, For you and you only He leads to the dance.
Clori:
Yes, Tirsi, beloved, With you, with you only I wish to go dancing, I wish to go singing. May no other shepherd, No matter how worthy, Design to go dancing With Clori his love.
Clori and Tirsi:
And now, gentle Clori,
We join with the lovers.
In sweetness of manner
Let us follow their style.
Let us dance, and while dancing,
Let us render in song
With sweet graceful measures
The praise of the dance.
Ninfe e Pastori: Balliamo, ch'il gregge Al suon de l'avena Che i passi corregge II ballo ne mena E saltano snelli
I capri e gli agnelli.
Balliam che nel Cielo Con lucido velo, Al suon de le sfere Or lente or leggiere Con lumi e facelle Su danzan le stelle.
Balliamo che d'intorno Nel torbido giorno, Al suono de' venti Le nubi correnti, Se ben fosche et adre Pur danzan leggiadre.
Balliamo che l'onde Al vento che spira Le move, e I'aggira, Se spinge e confonde Si come lor siede Se movon il piede, E ballan le linfe Quai garuli ninfe.
Balliam ch'i vezzosi Bei fior ruggiadosi, Se l'aura li scuote Con urti e con ruote, Fan vaga sembianza Anch'essi di danza.
Balliam e giriamo, Corriam e saltiamo, Qual cosa e piii degna
II Ballo n'insegna.
Nymphs and Shepherds: Let us dance, for the flocks At the sound of the oaten Pipe guiding their steps Are leading a dance, And so we leap nimbly The lambs and the goats.
Let us dance in the heavens With luminous veil, To the sound of the spheres, Now gravely, now lightly, With lights and with torches The stars above dance.
Let us dance, for around us On days that are gloomy With winds that are whistling, Somber and threatening The clouds even run by In light, graceful dance.
Let us dance, for when waves
By the blowing wind driven,
Which moves them and chums them,
Whirls them, confounds them,
In the manner that's theirs
Will foot it with spirit
Then dance the waters
Like chattering nymphs.
Let us dance, for the flowers So graceful and dewy, When fluttered by breezes Quiver and rotate And make most delightful Semblance of dance.
Let us dance, let us whirl, Let us run, let us jump. What can dance teach us But that which is best
(.Translation by Kenneth Cooper.)

ums
UMS
presents
Dame Felicity Lott
Soprano
Angelika Kirchschlager
Mezz-soprano Eugene Asti, Piano
The audience is politely asked to withhold applause until the end of each half of tonight's program. Please do not applaud after the individual songs or after each group.
Prelude:
from Nun hast tin mir den ersten Schmerz getan
Robert Schumann
(Arranged by Theodor Kirchner)
I
Lovestruck: The First Meeting
Erste Begegnung
Robert Schumann from Spanisches
Liederspiel, Op. 74, No. 1 (Emanuel Geibel, after Spanish folksongs)
Von dem Rosenbusch, o Mutter, von den Rosen komm ich. An den Ufern jenes Wassers sah ich Rosen stehn und Knospen; von den Rosen komm ich. An den Ufern jenes Flusses sah ich Rosen stehn in Bliite, brach mit Seufzen mir die Rosen.
Und am Rosenbusch, o Mutter,
einen Jiingling sah ich,
an den Ufern jenes Wassers
einen schlanken Jiingling sah ich,
einen Jiingling sah ich.
An den Ufern jenes Flusses
sucht nach Rosen auch der Jiingling,
viele Rosen pfliickt er, viele Rosen,
und mit Lacheln brach die schcinste er,
gab mit Seufzen mir die Rose.
First Encounter
From the rosebush, O mother, from the roses I come. On the bank of that water I saw roses and buds; from the roses I come. On the bank of that river I saw roses in bloom; with sighs I picked the roses.
And at the rosebush, O mother,
I saw a youth,
On the bank of that water
I saw a slim youth,
I saw a youth.
On the bank of that river
the youth was also looking for roses,
many roses he plucked, many roses,
and with a smile he picked the most beautiful
with a sigh he gave me the rose.
Ach, wende diesen Blick Johannes Brahms, Op. 57, No. 4 (Georg Friedrich Daumer)
Ach, wende diesen Blick, wende dies Angesicht! Das Inn're mit ewig neuer Glut, Mit ewig neuem Harm erfulle nicht!
Seit ich ihn gesehen
Schumann from Fruuenliebe und -leben
Seit ich ihn gesehen, Glaub ich blind zu sein; Wo ich hin nur blicke, Seh ich ihn allein; Wie ini wachen Traume Schwebt sein Bild mir vor, Taucht aus tiefstem Dunkel, Heller nur empor.
(Ach, wende diesen Blick)
Wenn einmal die gequiiltc Seele ruht, Und mit so fieberischer Wilde nicht In meinen Adern rollt das heifie Blut -
Ein Strahl, ein fluchtiger, von deinem Licht,
Er wecket aufdes Wehs gesamte Wut,
Das schlangengleich mich in das Herze sticht.
Bitt' ihn, o Mutter
Hugo Wolf from Spanisches Liederbuch
l Anonymous, translation by Paul Heyse)
Bitt' ihn, o Mutter, bitte den Knaben, nicht mehr zu zielen, well er mich totet.
Mutter, o Mutter, die launische Liebe hiihnt und versohnt mich, flieht mich und ziehl mich.
Ich sah zwei Augen am letton Sonntag, Wunder des Himnicls. Unheil der Erde.
Ah, turn away your eyes
Ah, turn away your eyes, your countenance! My innermost being with fire ever new, With grief ever new, do not fill up!
Since I saw him
Since I saw him,
I believe myself to be blind,
where I but cast my gaze,
I see him alone.
As in waking dreams
his image floats before me,
dipped from deepest darkness,
brighter in ascent.
When once the anguished soul may rest,
And with such feverish frenzy
The hot blood in my veins ceases to flow,
A fleeting beam from your eyes Awakes my woe's accumulated madness, That like a serpent eats into my heart.
Bid him, mother
Bid him, mother, bid the boy, no more to aim at me, for he is killing me.
Mother, O mother,
this peevish Love
mocks me and placates me,
flees from me and entices me.
1 ,im Sunday
1 s.nv tWO cuw
the miracle of heaven,
mischief on earth.
Was man sagt, o Mutter, von Basilisken, erfuhr mein Herze, da ich sie sah.
Bin' ihn, o Mutter, bitte den Knaben, nicht mehr zu zielen, weil er mich tiitet.
Interlude:
Seit ich ihn gesehen
Schumann
(Arranged by Kirchner)
Seit ich ihn gesehen
Carl Loewe, Frauenliebe und -leben,
Op. 60, No. 1 (Adelbert von Chamisso)
Seit ich ihn gesehen, Glaub ich blind zu sein; Wo ich hin nur blicke, Seh ich ihn allein; Wie im wachen Traume Schwebt sein Bild mir vor, Taucht aus tiefstem Dunkel, Heller nur empor.
Sonst ist lichtund farblos Alles um mich her, Nach der Schwestern Spiele Nicht begehr ich mehr, Mochte lieber weinen, Still im Kammerlein; Seit ich ihn gesehen, Glaub ich blind zu sein.
Mother, my heart underwent, what is said, of basilisks when I saw her.
Bid him, mother, bid that boy, no more to aim at me, for he is killing me.
Since I saw him
Since I saw him,
I believe myself to be blind,
where I but cast my gaze,
1 see him alone.
As in waking dreams
his image floats before me,
dipped from deepest darkness,
brighter in ascent.
All else dark and colorless everywhere around me, for the games of my sisters I no longer yearn, I would rather weep, silently in my little chamber, since I saw him, I believe myself to be blind.
II
Hopeless Adoration
Ich wollt' meine Lieb' ergosse sich Felix Mendelssohn, Op. 63, No. 1 (Heinrich Heine)
Ich wollt' meine Lieb' ergosse sich All in ein einzig Wort, Das gab ich den luft'gen Winden, Die triigen es lustig fort.
Sie tragen zu dir, Geliebte, Das lieb-erftillte Wort; Du horst es zu jeder Stunde, Du horst es an jedem Ort.
Und hast du zum nachtlichen Schlummer Geschlossen die Augen kaum, So wird mein Bild dich verfolgen Bis in den tiefsten Traum.
Seit ich ihn gesehen
Schumann from Frauenliebe und -leben
Sonst ist lichtund farblos Alles urn mich her, Nach der Schwestern Spiele Nicht begehr ich mehr, Mikhte lieber weinen...
Was fiir ein Lied soil dir gesungen warden Wall from Italienisches Liederbuch (Anonymous, translation by Paul Heyse)
Was fiir ein Lied soil dir gesungen werden Das deiner wiirdig sei Wo find ich's our Am liebsten griib' ich es tief aus der Erden, Gesungen noch von keiner Kreatur. Ein Lied, das weder Mann noch Weib bis heute Hort' oder sang, selbst nicht die iilt'sten Leute.
I wish my love would flow
I wish my love would flow Into a single word, Which I'd give to the airy winds, Who would carry it merrily along.
They would carry it to you, my beloved, The love-filled word; You hear it always, You hear it everywhere.
And scarcely have you closed your eyes To night-time slumbers, My image will follow you, Into your deepest dream.
Since I saw him
All else dark and colorless everywhere around me, for the games of my sisters I no longer yearn, I would rather weep...
What song shall be sung to you
What song shall be sung to you
that would be worthy Where to find it
I'd like best to dig it from deep in the earth,
Still unsung by any creature.
A song, that till today no man or woman
Has heard or sung, not even the oldest.
Er, der Herrlichste von alien
Schumann, Frauenliebe und -leben, Op. 42, No. 2
(Adelbert von Chamisso)
Er, der Herrlichste von alien, Wie so milde, wie so gut! Holde Lippen, klares Auge, Heller Sinn und fester Mut.
So wie dort in blauer Tiefe, Hell und herrlich, jener Stern, Also er an meinem Himmel, Hell und herrlich, hehr und fern.
Wandle, wandle deine Bahnen, Nur betrachten deinen Schein, Nur in Demut ihn betrachten, Selig nur und traurig sein!
Hore nicht mein stilles Beten, Deinem Gliicke nur geweiht; Darfst mich niedre Magd nicht kennen, Holier Stern der Herrlichkeit!
Nur die Wurdigste von alien Darf begliicken deine Wahl, Und ich will die Hohe segnen, Viele tausend Mai.
Will mich freuen dann und weinen, Selig, selig bin ich dann; Sollte mir das Herz auch brechen, Brich, o Herz, was liegt daran
Er, der Herrlichste von alien Loewe from Frauenliebe umi -leben
Nur die Wurdigste von alien Darf begliicken deine Wahl, Und ich will die Hohe segnen, Viele tausend Mai.
Will mich freuen dann und weinen, Selig, selig bin ich dann; Sollte mir das Herz auch brechen, Brich, o Herz, was liegt daran
He, the most glorious of all
He, the most glorious of all,
0 how mild, so good! lovely lips, clear eyes,
bright mind and steadfast courage.
Just as yonder in the blue depths,
bright and glorious, that star,
so he is in my heavens,
bright and glorious, lofty and distant.
Meander, meander thy paths, but to observe thy gleam, but to observe in meekness, but to be blissful and sad!
Hear not my silent prayer, consecrated only to thy happiness; thou mays't not know me, lowly maid, lofty star of glory!
Only the worthiest of all may make happy thy choice, and I will bless her, the lofty one, many thousands of times.
1 will rejoice then and weep, blissful, blissful I'll be then;
if my heart should also break, break, O heart, what of it
He, the most glorious of all
Only the worthiest of all may make happy thy choice, and I will bless her, the lofty one, many thousands of times.
I will rejoice then and weep, blissful, blissful I'll be then; if my heart should also break, break, O heart, what of it
Madchenlied Brahms, Op. 107, No. 5 (Paul Heyse)
Auf die Nacht in der Spinnstub'n Da singen die Miidchen, Da lichen die Dorfbub'n Wie fink geh'n Radchen!
Spinnt Jedes am Brautschatz,
Da6 der Liebste sich freut. Nicht lange, so gibt es Ein Hochzeitgelaut.
Kein Mensch, der mir gut ist, Will nach mir fragen; Wie bang mir zu Mut ist, Wem soil ich's klagen
Die Triinen rinnen Mir iiber's Gesicht, Woftir sol lich spinnen Ich weiB es nicht!
Interlude:
Seit ich ihn gesehen
Schumann
(Arranged by Kirchner)
Wohl kenn' ich Euren Stand, der nicht gering Wofrom Italienisches Liederbuch
(Paul Heyse)
Wohl kenn' ich Euren Stand, der nicht gering. Ihr brauchtet nicht so tief herabzusteigen Zu lieben solch ein arm und niedrig Ding, Da sich vor Euch die Allerschfinsten neigen. Die schonsten Manner leicht besiegtet Ihr, Drum weiE ich wohl, Ihr treibt nur Spiel
mit mir.
Ihr spottet mein, man hat mien warnen wollen. Doch ach, Ihr seid so schon! Wer kann
Euch grollen
Maiden's song
All night in the spinning-room there sing the maidens, the village lads laugh; how nimble the wheels!
Each spins for her trousseau To gladden her dear one. Not long and there will be The wedding-bells' sound.
No man there's to love me, wants to care for me; how frightened this makes me, who am I to tell
The tears go coursing down my cheeks; what am I spinning for I do not know!
I know your station well, which is not inferior
1 know your station well, which is not inferior.
You need not descend so low
To love such a poor and humble thing,
Since the fairest of them all bow down before you.
You easily conquer the most handsome men,
Therefore I know you only make fun
of me.
You mock me, as they have tried to warn me, But ah, you're so handsome! Who can be
cross with you
Ill
Reciprocation and Betrothal
Ich kann's nicht fassen, nicht glauben Loewe, Frauenliebe und -leben, Op. 60, No. 3
(Adelbert von Chamisso)
Ich kann's nicht fassen, nichl glauben, Es hat ein Traum mich beriickt; Wie hiitt' er doch unter alien, Mich Arme erhoht und begliickt
Mir war's, er habe gesprochen: "Ich bin auf ewig Dein," Mir war's, ich traume noch immer, Es kann ja nimmer so sein.
O laK im Traume mich sterben, Gewieget an seiner Brust, Den seligen Tod mich schliirfen In Tranen unendlicher Lust.
Interlude:
Ich kann's nicht fassen, nicht glauben
Schumann
(Arranged by Kirchner)
Ich kann's nicht fassen, nicht glauben Schumann from Frauenliebe und -leben
Mir war's, er habe gesprochen: "Ich bin auf ewig Dein," Mir war's, ich traume noch immer, Es kann ja nimmer so sein.
O laS im Traume mich sterben, Gewieget an seiner Brust, Den seligen Tod mich schliirfen In Tranen unendlicher Lust.
Ich kann's nicht fassen, nicht glauben, Es hat ein Traum mich beriickt; Wie hatt' er doch unter alien, Mich Arme erhoht und begliickt
I can't grasp it, nor believe it
I can't grasp it, nor believe it,
a dream has bewitched me;
how should he, among all the others,
lifted up and favored poor me
It seemed to me, as if he spoke, "I am yours eternally," I was, I thought, still dreaming, for it could never be so.
O let me die in this dream,
cradled on his breast,
let the most blessed death drink me up
in tears of infinite bliss.
I can't grasp it, nor believe it
It seemed to me, as if he spoke, "I am yours eternally," I was, I thought, still dreaming, for it could never be so.
0 let me die in this dream, cradled on his breast,
let the most blessed death drink me up in tears of infinite bliss.
1 can't grasp it, nor believe it, a dream has bewitched me;
how should he, among all the others, lifted up and favored poor me
Botschaft
Schumann, Spmiisches Liederspiel,
Op. 74, No. 8 (Emanuel Geibel, after Spanish folksongs)
Nelken wind' ich und Jasmin, u nd es denkt mein Herz an ihn. Nelken all', ihr rlammenroten, die der Morgen mir beschert, zu ihm send' ich euch als Boten jener Glut, die mich verzehrt. Und ihr weifien Bliiten wert, sanft mit Diiften griiBet ihn. Sagt ihm, dafi ich bleich vor Sehnen, daS ich auf ihn harr' in Tranen. Nelken wind' ich und Jasmin, und es denkt mein Herz an ihn. Tausend Bluincn, tauumtlossen, find' ich neu im Tal erwacht; alle sind erst heut' entsprossen, aber hin ist ihre Pracht, wenn der nachste Morgen lacht. Sprich du duftiger Jasmin, sprecht ihr flammenroten Nelken, kann so schnell auch Liebe welken Ach es denkt mein Her, an ihn! Nelken wind' ich und Jasmin, und es denkt mein Herz an ihn.
Du Ring an meinem Finger
Loewe, Frauenliebe und -leben, Op. 60, No. 4 (Adelbert von Chamisso)
Du Ring an meinem Finger,
Mein goldenes Ringelein,
Ich driicke dich fromm an die Lippen,
An das Herze mein.
Ich hatt' ihn ausgetraumet,
Der Kindheit friedlich schcinen Traum,
Ich fand allein mich, verloren
Im (iden, unendlichen Raum.
Du Ring an meinem Finger, Da hast du mich erst belehrt, Hast meinem Blick erschlossen Des Lebens unendlichen, tiefen Wert.
A message
I gather carnations and jasmine, and my heart thinks only of him. All you flame-red carnations, morning's gift to me, send you to him as messengers of the fire that consumes me. And you fine white blossoms, greet him gently with your perfume. Tell him 1 am pale from yearning, and that I wait for him in tears. I gather carnations and jasmine, and my heart thinks only of him. A thousand flowers, drenched in dew, have awakened in the vale; all born with the new day, their glory, fades before another day, can show its friendly light. Speak, O heavy-scented jasmine, speak, O flame-red carnations, speak: can love too wither so quickly Ah, my heart thinks only of him! I gather carnations and jasmine, And my heart thinks only of him.
Thou ring on my finger
Thou ring on my finger,
my little golden ring,
I press thee piously upon my lips,
upon my heart.
I had finished dreaming,
the tranquil, lovely dream of childhood,
I found myself alone and lost
in barren, infinite space.
Thou ring on my finger,
thou hast taught me for the first time,
hast opened my gaze unto
the endless, deep value of life.
Ich will ihm dienen, ihm leben, Ihm angehoren ganz, Hin selber mich geben und finden Verklart mich in seinem Glanz.
Du Ring an meinem Finger Schumann from Fmuenliebe und -leben
Ich will ihm dienen, ihm leben, Ihm angehoren ganz, Hin selber mich geben und finden Verklart mich in seinem Glanz.
Du Ring an meinem Finger...
Interlude:
Helft mir, ihr Schwestern
(The two women dream of their
forthcoming wedding day) Schumann (Arranged by Kirchner)
Das Madchen spricht Brahms, Op. 107, No. 3 (Otto Friedrich Gruppe)
Schwalbe, sag" mir an, Ist's dein alter Mann, Mit dem du's Nest gebaut Oder hast du jiingst erst Dich ihm vertraut
Sag', was zwitschert ihr,
Sag', was fliistert ihr
Des Morgens so vertraut
Gelt, du bist wohl
Auch noch nicht lange Braut
I want to serve him, live for him, belong to him entirely, Give myself and find myself transfigured in his radiance.
Thou ring on my finger
I want to serve him, live for him, belong to him entirely, Give myself and find myself transfigured in his radiance.
Thou ring on my finger...
The maiden speaks
Swallow, tell me,
Was it your oid husband,
With whom you built your nest
Or have you just recently
Entrusted yourself to him
Tell me what you twitter about, Tell me what you whisper about In the mornings, so confidentially And you haven't been A bride for very long, have you
DasGliick
Schumann, Op. 79, No. 16
(Friedrich Hebbel)
Voglein vom Zweig Gaukelt hernieder; Lustig sogleich Schwingt es sich wieder.
Jetzt dir so nah, Jetzt sich versteckend, Abermals da, Scherzend und neckend.
Tastest du zu, Bist du betrogen, Spottend im Nu st es entflogen.
Still! Bis zur Hand Wird's dir noch htlpfen, Bist du gewandt, Kann's nicht entschliipfen.
Ist's denn so schvver Das zu erwarten Schau' urn dich her: Bluhender Garten!
Ei, du verzagst LaB es gewahren. Bis du's erjagst, Kannst du's entbehren.
Wird's doch auch dann Wenig nur bringen, Aber es kann Siifiestes singen.
Happiness
Little bird from the branch flutters down; straightaway merrily it soars back.
Now so near you, now hiding, there once more, joking and teasing.
Try to touch, and you are deceived; mocking, in a moment it has flown away.
Quiet! Up to your hand
it will hop;
if you are quick,
it cannot slip out.
Is it so hard then to wait for that Look around you: a garden in bloom!
Why lose heart Let it be.
Until you catch it, you can do without it.
Even then it will not bring much, but it can bring great sweetness!
INTERMISSION
IV
Fiancees and Brides
Grufi
Mendelssohn, Op. 63, No. 3
(Joseph von Eichendorff)
Wohin ich geh' und schaue In Feld und Wald und Tal, Vom Hiigel hinauf die Aue, Vom Berg aufwarts weit ins Blaue, GriiG ich dich tausendmal!
In meineni Garten find ich Viel Blumen, schcin und fein; Viel Kriinze wohl d'raus wind ich, Und tausend Gedanken bind ich Und GriiS mit darein.
Dir darf ich keinen reichen; Du bist zu hoch und schcin, Sie mlisscn zu bald verbleichen, Die Liebe ohne gleichen Bleibt ewig im Herzen stehn!
O war dein Haus durchsichtig wie ein Glas Wolf from Italienisiches Liederbuch
(Paul Heyse)
O war dein Haus durchsichtig wie ein Glas, Mein Holder, wenn ich mich voriiberstehle! Dann sah ich drinnen dich ohn UnterlaB, Wie blickt' ich dann nach dir mit ganzer Seele! Wie viele Blicke schickte dir mein Herz, Mehr als da Tropfen hat der FluG im Marz! Wie viele Blicke schickt ich dir entgegen, Mehr als da Tropfen niederspriihn im Regen!
Greeting
Wherever I go and look in field and forest and plain, down the hill to the mead; most beautiful noble lady, I greet you a thousand times!
In my garden I find
many flowers, pretty and nice,
many garlands I bind from them,
and a thousand thoughts
and greetings I weave into them.
Her I must not give one, she is too noble and fair; they all have to fade, only unequalled love stays in the heart forever!
Oh, were your house transparent as glass
Oh, were your house transparent as glass, My darling, when I steal by! Then I would see you inside without ceasing, How I would look at you with my whole soul! How many glances would my heart send to you, More than there are drops in the river in March! How many looks would I send towards you, More than the drops that fall in the rain!
Helft mir, ihr Schwestern
Loewe, Frauenliebe und -leben, Op. 60, No. 5
(Adelbert von Chamisso)
Helft mir, ihr Schwestern,
Freundlich mich schmtlcken,
Dient der Gltlcklichen heute mir,
Windet geschiiftig
Mir urn die Stirne
Noch der bliihenden Myrte Zier.
Als ich befriedigt,
Freudigen Herzens,
Sonst dem Geliebten im Arme lag,
Immer noch rief er,
Sehnsucht im Herzen,
Ungeduldig den heutigen Tag.
Helft mir, ihr Schwestern,
Helft mir verscheuchen
Eine torichte Bangigkeit,
DaK ich mit klarem
Aug ihn empfange,
lhn, die Quelle der Freudigkeit.
Bist, mein Geliebter,
Du mir erschienen,
Giebst du mir, Sonne.deinen Schein
Lafi mich in Andacht,
Lali mich in Demut,
LaR mich verneigen dem Herren mein.
Streuet ihm, Schwestern,
Streuet ihm Blumen,
Bringt ihm knospende Rosen dar,
Aber euch, Schwestern,
GriiS ich mit Wehmut,
Freudig scheidend aus eurer Schar.
Helft mir, ihr Schwestern
Schumann from Frauenliebe und -leben
Aber euch, Schwestern, Griift ich mit Wehmut, Freudig scheidend aus eurer Schar.
Help me, sisters
Help me, sisters,
friendly, adorn me,
serve me, today's fortunate one,
busily wind
about my brow
the adornment of blooming myrtle.
Otherwise, gratified,
of joyful heart,
I would have lain in the arms of the beloved,
so he called ever out,
yearning in his heart,
impatient for the present day.
Help me, sisters,
help me to banish
a foolish anxiety,
so that I may with clear
eyes receive him,
him, the source of joyfulness.
Dost, my beloved,
thou appear to me,
givest thou, sun, thy shine to me
Let me with devotion,
let me in meekness,
let me curtsy before my lord.
Strew him, sisters,
strew him with flowers,
bring him budding roses.
But you, sisters,
I greet with melancholy,
joyfully departing from your midst.
Help me, sisters
But you, sisters,
I greet with melancholy,
joyfully departing from your midst.
Erstes Liebeslied eines Madchens
Wolf
(Eduard Morike)
Was im Netze Schau einmal! Aber ich bin bange; Greif ich einen siiBen Aal Greif ich eine Schlange
Lieb' is blinde Fischerin; Sagt dem Kinde wo greift's hin
Schon schnellt mir's in Handen! Ach Jammer! O Lust! Mit Schmiegen und VVenden mir schliipft's an die Brust.
Es beiSt sich, o Wunder! Mir keck durch die Haut, schieSt's Herze hinunter! O Liebe, mir graut!
Was tun, was beginnen Das schaurige Ding Es schnalzet dadrinnen, Es legt sich im Ring!
Gift mufi ich haben! Hier schleicht es herum, Tut wonniglich graben Und bringt mich noch um!
A girl's first love-song
What's in the net Just look! But I'm frightened; is it a sweet eel I can feel Or a snake
Love is a blind fisher-girl; tell your child what she has caught.
Already it's whipping in my hands,
oh misery and joy!
by nestling and wriggling
it slithers to my breast.
I marvel as it bites its bold way through my skin and shoots down to my heart! O Love, I shudder!
What shall I do The horrible thing is snapping inside, coiling into a ring!
Give me poison! It creeps about, blissfully burrowing and will be the death of me.
Spanisches Lied
Brahms, Op. 6, No. 1
(Translated by Emanuel GeibelPaul Heyse)
In dem Schatten meiner Locken Schlief mir mein Geliebter ein. Week ich ihn nun auf Ach nein!
Sorglich strahlt ich meine krausen Locken taglich in der Friihe, Doch umsonst ist meine Miihe, weil die Winde sie zerzausen. Lockenschatten, Windessausen
Schlaferten den Liebsten ein. Week ich ihn nun auf Ach nein!
Horen mufi ich, wie ihn grame Da( er sehmachtet schon so lange, DaB ihm Leben geb' und nehme Diese meine braune Wange, Und er nennt mich eine Schlange, Und doeh schlief er bei mir ein. Week ich ihn nun auf Ach nein!
V
Joyful Motherhood
Siifier Freund
Schumann, Frauenliebe und -leben.
Op. 42, No. 6 (Adelbert von Chamisso)
Siifier Freund, du blickest Mich verwundert an, Kannst es nicht begreifen, Wie ich weinen kann; LaK der feuchten Perlen Ungewohnte Zier Freudig hell erzittern In dem Auge mir.
Wie so bang mein Busen, Wie so wonnevoll! Wiifit ich nur mit Worten, Wie ich's sagen soil; Komm und birg dein Antlitz Hier an meiner Brust, Will in's Ohr dir tltistern Alle meine Lust.
Spanish song
In the shadow of my tresses My beloved has fallen asleep. Shall I awaken him now Ah, no!
Carefully I comb my ruffled
Locks, early every day;
Yet for nothing is my trouble,
For the wind makes them dishevelled yet again.
The shadows of my tresses, the whispering
of the wind
Have lulled my darling to sleep. Shall 1 awaken him now Ah, no!
I must listen to him complain
That he pines for me so long,
That life is given and taken away from him
By this, my dusky cheek,
And he calls me a serpent,
Yet he fell asleep by me.
Shall I awaken him now Ah, no!
Sweet Friend
Sweet friend, thou gazest upon me in wonderment, thou cannst not grasp it, why I can weep; Let the moist pearls' unaccustomed adornment tremble, joyful-bright in my eyes.
How anxious my bosom,
how rapturous!
If I only knew, with words,
how I should say it;
come and bury thy visage
here in my breast,
I want to whisper in thy ear
all my happiness.
WeiBt du nun die Tranen, Die ich weinen kann Sollst du nicht sie sehen, Du geliebter Mann Bleib an meinem Herzen, Fiihle dessen Schlag, DaB ich fest und fester Nur dich driicken mag.
Hier an meinem Bette Hat die Wiege Raum, Wo sie still verberge Meinen holden Traum; Kommen wird der Morgen, Wo der Traum erwacht, Und daraus dein Bildnis Mir entgegen lacht. [Dein Bildnis.]
Interlude:
SiiKer Freund
Schumann
(Arranged by Kirchner)
SuBer Freund
Loewe from Frauenliebe und -lebeti
Hab' ob manchen Zeichen Mutter schon gefragt, Hat die gute Mutter Alles mir gesagt. Hat mich unterwiesen Wie, nach allem Schein, Bald fiir eine Wiege MuB gesorget sein.
WeiBt du nun die Tranen, Die ich weinen kann Sollst du nicht sie sehen, Du geliebter Mann Bleib an meinem Herzen, Fiihle dessen Schlag, DaB ich fest und fester Nur dich driicken mag.
Hier an meinem Bette Hat die Wiege Raum, Wo sie still verberge Meinen holden Traum; Kommen wird der Morgen, Wo der Traum erwacht, Und daraus dein Bildnis Mir entgegen lacht.
Knowest thou the tears,
that I can weep
Shouldst thou not see them,
thou beloved man
Stay by my heart,
feel its beat,
that I may, fast and faster
hold thee.
Here, at my bed,
the cradle shall have room,
where it silently conceals
my lovely dream;
the morning will come,
where the dream awakes,
and from there thy image
shall smile at me.
[Your image.]
Sweet Friend
About the signs
I have already asked Mother;
my good mother has
told me everything.
She has assured me that
by all appearances,
soon a cradle
will be needed.
Knowest thou the tears,
that I can weep
Shouldst thou not see them,
thou beloved man
Stay by my heart,
feel its beat,
that I may, fast and faster
hold thee.
Here, at my bed,
the cradle shall have room,
where it silently conceals
my lovely dream;
the morning will come,
where the dream awakes,
and from there thy image
shall smile at me.
An meinem Herzen, an meiner Brust Schumann, Frauenliebe und -leben,
Op. 42, No. 7 (Adelbert von Chamisso)
An meinem Herzen, an meiner Brust,
Du meine Wonne, du meine Lust!
Uas Gliick ist die Liebe, die Lieb ist das Gliick,
Ich hab's gesagt und nehm's nicht zuriick.
Hab Uberschwenglich mich geschatzt
Bin iibergliicklich aber jetzt.
Nur die da saugt, nur die da liebt
Das Kind, dcm sie die Nahrung giebt;
Nur eine Mutter weiG allein
Was lieben heiBt und gliicklich sein.
O, wie bedaur' ich doch den Mann,
Der Muttergliick nicht fiihlen kann!
Du lieber, lieber Engel du,
Du schauest mich an und lachelst dazu!
An meinem Herzen, an meiner Brust,
Du meine Wonne, du meine Lust!
An meinem Herzen, an meiner Brust Loewe, Frauenliebe und -leben, Op. 60, No. 7 (Adelbert von Chamisso)
An meinem Herzen, an meiner Brust,
Du meine Wonne, du meine Lust!
Das Gliick ist die Liebe, die Lieb ist das Gliick,
Ich hab's gesagt und nehm's nicht zuriick.
Hab Uberschwenglich mich geschatzt
Bin iibergliicklich aber jetzt.
Nur die da saugt, nur die da liebt
Das Kind, dem sie die Nahrung giebt;
Nur eine Mutter vveifi allein
Was lieben heiSt und gliicklich sein.
O, wie bedaur' ich doch den Mann,
Der Muttergliick nicht fiihlen kann!
Du lieber, lieber Engel du,
Du schauest mich an und lachelst dazu!
An meinem Herzen, an meiner Brust,
Du meine Wonne, du meine Lust!
At my heart, at my breast
At my heart, at my breast,
thou my rapture, my happiness!
The joy is the love, the love is the joy,
I have said it, and won't take it back.
I've thought myself rapturous,
but now I'm happy beyond that.
Only she that suckles, only she that loves
the child, to whom she gives nourishment;
Only a mother knows alone
what it is to love and be happy.
O how I pity then the man
who cannot feel a mother's joy!
Thou dear, dear angel thou,
thou lookst at me and smiles!
At my heart, at my breast,
thou my rapture, my happiness!
At my heart, at my breast
At my heart, at my breast,
thou my rapture, my happiness!
The joy is the love, the love is the joy,
I have said it, and won't take it back.
I've thought myself rapturous,
but now I'm happy beyond that.
Only she that suckles, only she that loves
the child, to whom she gives nourishment;
Only a mother knows alone
what it is to love and be happy.
O how I pity then the man
who cannot feel a mother's joy!
Thou dear, dear angel thou,
thou lookst at me and smiles!
At my heart, at my breast,
thou my rapture, my happiness!
Volkslied Mendelssohn (Robert Bums)
O sah' ich auf der Heide dort Im Sturme dich, im Sturnie dich! Mit meinem Mantel vor dem Sturm Beschiitz ich dich, beschiitz ich dich! Und kommt mit seinem Sturme je Dir Ungliick nah, dir Ungliick nah, Dann war dies Herz dein Zufluchtsort, Gem teilt ich's ja, gern teilt ich's ja.
O war' ich in der Wiiste, die
So braun und diirr, so braun und diirr,
Zum Paradiese wiirde sie,
Warst du bei mir, warst du bei mir.
Und war ein Konig ich, und war
Die Erde mein, die Erde mein,
Du warst in meiner Krone doch
Der schonste Stein, der schonste Stein.
Folksong
O wert thou in the cauld blast On yonder lea, on yonder lea! My plaidie to the angry airt, I'd shelter thee, I'd shelter thee! Or did misfortune's bitter storms Around thee blaw, around thee blaw, Thy shield should be my bosom To share it a', to share it a'.
Or were 1 in the wildest waste,
Sae black and bare, sae black and bare,
The desert were a paradise
If thou wert there, if thou wert there.
Or were I monarch of the globe,
Wi' thee to reign, wi' thee to reign,
The brightest jewel in my crown
Wad be my Queen, wad be my Queen.
VI
Bitter Loss, Love Everlasting
Nun hast du mir den ersten
Schmerz getan Loewe from Frauenliebe und -leben
Nun hast du mir den ersten
Schmerz getan, Der aber traf. Du schlafst, du harter,
unbarmherz'ger Mann, Den Todesschlaf.
Nun hast du mir den ersten Schmerz getan Schumann, Frauenliebe und -leben,
Op. 42, No. 8 (Adelbert von Chamisso)
Nun hast du mir den ersten
Schmerz getan, Der aber traf. Du schlafst, du harter,
unbarmherz'ger Mann, Den Todesschlaf.
(Nun hast du mir den ersten
Schmerz getan) Loewe
Es blicket die VerlaGne vor sich hin, Die Welt is leer. Geliebet hab ich und gelebt, Ich bin nicht lebend mehr.
(Nun hast du mir den ersten Schmerz getan) Schumann
Es blicket die VerlaBne vor sich hin, Die Welt is leer. Geliebet hab ich und gelebt, Ich bin nicht lebend mehr.
Ich zieh mich in niein Innres still zuriick, Der Schleier fallt,
Da hab ich dich und mein verlornes Gliick, Du meine Welt!
Now you have caused me my first pain
Now thou hast given me, for the
first time, pain, how it struck me. Thou sleepst, thou hard,
merciless man, the sleep of death.
Now you have caused me my first pain
Now thou hast given me, for the
first time, pain, how it struck me. Thou sleepst, thou hard,
merciless man, the sleep of death.
The abandoned one gazes straight ahead,
the world is void.
I have loved and lived,
I am no longer living.
The abandoned one gazes straight ahead,
the world is void.
I have loved and lived,
I am no longer living.
I withdraw silently into myself,
the veil falls,
there 1 have thee and my lost happiness,
O thou my world!
Klange
Brahms, Op. 66, No. 1
(Klaus Groth)
Aus der Erde quellen Blumen, Aus der Sonne quillt das Licht, Aus dem Herzen quillt die Liebe, Und der Schmerz, der es zerbricht.
Und die Blumen miissen welken, Und dem Lichte folgt die Nacht, Und der Liebe folgt das Sehnen, Das das Herz so duster macht.
So wahr die Sonne scheinet
Schumann, Op. 37, No. 12 (Friedrich Riickert)
So wahr die Sonne scheinet, So wahr die Wolke weinet, So wahr die Flamme spriiht, So wahr der Friihling bliiht; So wahr hab' ich empfunden, Wie ich dich halt' umwunden: Du liebst mich, wie ich dich, Dich lieb' ich, wie du mich.
Die Sonne mag verscheinen, Die Wolke nicht mehr weinen, Die Flamme mag versprtlhn, Der Friihling nicht mehr bliihn! Wir wollen uns umwinden Und immer so emphnden; Du liebst mich, wie ich dich, Dich lieb1 ich, wie du mich.
Postlude:
To the cycle Frauenliebe und -leben
Schumann
Strains
Flowers spring from the earth, light spills from the sun; love flows from the heart, and so does pain, which breaks it.
And the flowers must wilt, and night follows day; and yearning follows the love that makes the heart so gloomy.
As truly as the sun shines
As truly as the sun shines, as truly as the clouds weep, as truly as the flames spark, as truly as Spring blooms, as truly as I felt as I held you in my embrace, you love me, as 1 love you, I love you, as you love me.
The sun may stop shining, the clouds may weep no more, the flames may die down, Spring may blossom no more! But let us embrace and feel this way forever; you love me as I love you, and I love you as you love me.

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