Press enter after choosing selection

UMS Concert Program, Wednesday Feb. 15 To 23: University Musical Society: Winter 2006 - Wednesday Feb. 15 To 23 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 2006
Hill Auditorium

Winter 2006 Season
127th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of three will not be admitted to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditori?um. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that every?one may enjoy this UMS event distur?bance-free. In case of emergency, advise your paging service of auditori?um and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Wednesday, February 15 through Thursday, February 23, 2006
Louis Andriessen in Concert 5
Wednesday, February 15 Burton Memorial Tower, 7:30pm Power Center, 8:00pm
Soweto Gospel Choir 17
Sunday, February 19, 4:00 pm Hill Auditorium
Takacs Quartet with James Dunham 23
Wednesday, February 22, 8:00 pm Rackham Auditorium
Pappa Tarahumara 29
Ship In A View
Thursday, February 23, 8:00 pm Power Center
Dear UMS Patron,
Connecting UMS audiences with extraordinary and "uncommon" performing arts experiences is at the core of our 127-year-old mission. Success?ful connections are ultimately formed through a complicated circuitry of relationships between audience members, staff, artists and their man?agers, board leadership, U-M faculty, volunteers, funders, and philanthropists. Each presentation in this edition of the UMS Program Book offers an example of the deep connections necessary to bring you unique UMS experiences:
The concert of works by Louis Andriessen represents hours of collaborative meetings between UMS, the Center for European Studies at the International Institute, the Institute for the Humanities, Mirjam Zegers in Amsterdam, Michael Daugherty and Michael Haithcock at the School of Music, and local electronic music artists on the Ghostly International label. It is a fine example of the powerful and multifaceted experiences that we can create by working together at the U-M.
When the Soweto Gospel Choir appeared for the first time in Michigan last February, we were overwhelmed by the power of their collec?tive voice. The Choir was likewise overwhelmed by the joy of singing for audiences in Hill Audito-
rium. Immediately after their 2005 concert, UMS wanted them to return...and the choir wanted to come immediately back to Michigan. At a time when our 0506 season was already settled, much "creative" last-minute schedule adjusting was undertaken to ensure their concert here this month, Happily, we worked together to find a solution!
UMS rarely makes annual commitments to artists or ensembles, but when it gets as good as the Takacs Quartet--a string quartet truly at the height of its artistic powers and seated at the top of the chamber-music mountain--how can we not Listening to them every season since 2000 has been an extreme joy for many and working with them to plan programs, including this year's Mozart-focused repertory, has been an equal pleasure. We welcome their new violist Geraldine Walther and special guest violist James Dunham for another Mozart masterwork.
Learning about the theatrical arts of Japan is a truly exciting process; one aided by friends in the field, Kyoko Yoshida at Arts Midwest, and Jerry Yoshitomi of Los Angeles. Our recent program?matic past has included works of Akira Kasai, The Setagaya Public Theater (The Elephant Vanishes), Dairakudakan (The Sea-Dappled Horse) and now, Hiroshi Koike's Pappa Tarahumara (Ship In A View). "Pappa T," as they are affectionately called, is a company of artists from across per?formance disciplines, which creates an intra-arts theater beyond easy description. The visual beau?ty of their work is accomplished through a mov?ing stage-picture which audiences won't soon forget. Is it dance ...Is it theater ...Is it moving visual art Yes...all of the above.
We are grateful for the connections that allow us to bring you these works, and hope you find a personal connection within this performance.
Michael Kondziolka
UMS Director of Programming
UMS Educational Events
through Thursday, February 23, 2006
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS education department at 734.647.6712 or
Louis Andriessen in Concert
U-M School of Music Concert: Works by Louis Andriessen
Friday, February 17, 8 pm, U-M School of Music, Britton Recital Hall, 7 700 Baits Drive
Faculty and students from the University of Michigan School of Music perform works by Dutch composer Louis Andriessen. Pieces include Trois Pieces, Beatles Songs, and Passeggiata in tram in America e ritorno. For more information, please contact Marysia Ostafin at 734.764.0351 or A collaboration with the U-M Center for European Studies, U-M Insti?tute for the Humanities, U-M School of Music, U-M Institute for the Humanities, U-M Office of the Provost, and the Royal Netherlands Academy of Arts and Sciences.
Pappa Tarahumara
Meet the Artist:
Q&A with Pappa Tarahumara
Thursday, February 23, post-performance, Power Center Stage
Join us for a brief post-performance audience Q&A with members of Pappa Tarahumara. A collaboration with the U-M Center for Japanese Studies.
Mozart 250
Louis Andriessen in Concert
Michael Haithcock, Conductor U-M Symphony Band
Cristina Zavalloni, Vocals Monica Germino, Violin
Steven Ball, Carillonneur
Aarnio, Live SoundScape
Twine, Taped Composition and Visuals
Wednesday Evening, February 15, 2006
Burton Memorial Tower at 7:30, Power Center at 8:00, Ann Arbor
Arrival of Willibrord
performed on the Charles Baird Carillon at Burton Memorial Tower Mr. Ball
La Passione
Ms. Germino, Ms. Zavalloni
Film by Peter Greenaway
M is for Man, Music, Mozart
Ms. Zavalloni
34th Performance of the 127th Annual Season
43rd Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Media partnership for this performance provided by WGTE 91.3 FM and Metro Times.
The Steinway pianos used in this evening's performance are made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to the U-M Center for European Studies, U-M Institute for the Humanities, U-M School of Music, U-M International Institute, U-M Office of the Provost, and the Royal Netherlands Academy of Arts and Sciences for their partic?ipation in this residency.
Special thanks to residency coordinator Marysia Ostafin.
Special thanks to Jeff Owens and Sam Valenti IV of Ghostly International for their contributions to this residency.
Large print programs are available upon request.
n old adage states that architecture is frozen music. In many quarters, the architecture of a classical music concert has become similarly fixed. Not tonight! This evening, music flows like a river through multi?ple spaces and "soundscapes" as we pay tribute to the genius of Louis Andriessen. Andriessen's creativity is astounding. With constantly twisting and turning ingenuity, Andriessen provides the listener an exciting ride through sound worlds all familiar but always startling in their fluid design. As you read these words, the momentum of this event is already in motion. Hang on and enjoy the ride!
--Michael Haithcock
Arrival of Willibrord (1995)
Louis Andriessen
Born June 6, 1939 in Utrecht, The Netherlands
At the start of the piece, one hears the horse that [Bishop] Willibrord was riding when he entered the city of Utrecht (around 700 A.D.). Another rider is quoted: the melody after the beginning is the theme of the horse-riding main character Rosa from the opera of the same name. When I was six, my father took me by the hand to Dom Square in Utrecht. We went to lis?ten to the bells that were hung again in the bell tower. They had been hidden during the war years. The ringing of the large bells is one of my most moving earliest musical impressions.
Arrival of Willibrord was commissioned by Foundation Utrecht Center for History and Cul?ture. The piece is dedicated to Arie Abbenes.
-Louis Andriessen
La Passione (2002) Andriessen
It was the Italian singer Cristina Zavalloni who first introduced me to the impressive Canti Orfici (Orphic Songs) by the poet Dino Campana (1885-1932). I had already composed Passeg-giata in tram in America e ritorno for her, in which the singer is accompanied by a concer-
tante violin part of "trembling violin with electric strings" and a brass ensemble. I found the com?bination of Cristina's voice and the violin sound so rich that I decided to compose La Passione based on the next of Campana's Canti Orfici, as a double concerto for her and Monica Germino, the violinist who had played in Passeggiata.
Dino Campana published his Canti Orfici in 1914. Throughout his life, his existence was dominated by a troubled spiritual condition. After a five-week stay in a psychiatric hospital in Imola, his father sent him to recuperate in Argentina. However, on his wartime journey back to Italy, the poet was arrested at the Bel?gian-French border and taken to a psychiatric hospital in Tournai, Flanders. The text to the last song of La Passione, "il Russo," is set in the landscape of Flanders. Nine years later, in 1918, Campana was officially declared mentally ill and he spent the last 14 years of his life in a clinic in Castel Pulci, near Florence.
Most of the Canti Orfici are poems in prose. The images are fantastic, sometimes gruesome, unpredictable collages of perhaps futuristic dreams. For La Passione I chose six fragments from different texts, except the second song "La sera di fiera" for which I used the complete poem. The work flows as a one-movement, 26-minute piece, but formally it is structured as an introduction followed by a series of six songs. Campana's Passion, as it is reflected in his surre?alist poetry, was the main inspiration for the musical language of the composition.
-Louis Andriessen
M is for Man, Music, Mozart (1991) Film by Peter Greenaway Musical Score by Louis Andriessen
When Louis Andriessen was asked by Annette Moreau to write the music for one of six short BBC television films that are jointly titled Not Mozart, an irreverent alternative to the cloyingly respectful homage engendered by the Mozart Bicentennial, he immediately suggested Peter Greenaway as his collaborator. "I like his films very much, and I recognize in his work what I
like in music: this combination of aggression and strangeness and extreme formalism."
Soon thereafter, Mr. Greenaway was sitting in Mr. Andriessen's home in Amsterdam, plot?ting the course of their Mozart film. Mr. Andriessen had intended all along to write a piece for the 20th anniversary of De Volharding, and he had wanted it to include songs for the jazz singer Astrid Seriese. "I told this to Peter, and he said, 'I will make you some lyrics for the songs.' Then we had a long discussion where to put the songs in the film, and we decided in favor of a very symmetrical form: song, instru?mental, song, instrumental, song, instrumental, song." Anyone who has seen Greenaway's The Cook, the Thief, His Wife and Her Lover or Pros-pero's Books will not be surprised by the ambi?ence of M is for Man, Music, Mozart, the video he created with Mr. Andriessen. Filled with an almost Baroque love of excess, whether expressed in violence, sexuality, or sheer visual density, Mr. Greenaway's films combine orgiastic delirium with arcane rituals, litanies, and formal schemes. In M is for Man, Music, Mozart (1991), man is first created by medieval alchemical processes, then polished and refined. Now the first element in Mr. Greenaway's litany appears: "Having made man, it was necessary to teach him movement. Our newly created man, naked and ghoulish, begins to dance. Having made man and taught him movement, what is the best thing that could be done with him Teach him to make music. Our naked dancer finds himself in the midst of lascivious revelry. Having made man and taught him to make music, then it was necessary to invent Mozart. Our naked musician, writhing with mounting intensity, appears before a 'parody' of an 18th-century orchestra filled with creatures that look as if they have been swept off the streets of The Beggar's Opera."
Of the four songs' texts, only the first, an alphabetical list so typical of Peter Greenaway, was written by Louis Andriessen with Jeroen van der Linden. The subsequent texts, all by Mr. Greenaway, refer obliquely to Andreas Vesalius, the 16th-century anatomist, Bruno Schultz, the Polish avant-garde writer, and Sergei Eisenstein,
the Russian filmmaker. In between are the pure?ly instrumental sections, the first linked with the creation of man, the second with movement, and the third with Mozart.
Musically, M is for Man, Music, Mozart is far more direct than De Stijl, more tonal and conso?nant in its harmonic language, and closer to its source material, whether pop music or Mozart. "Knowing that I was going to use Astrid, know?ing that De Volharding consists partly of jazz musicians, knowing Greenaway's approach to art, and knowing that Mozart is for me the greatest ironic composer of all time, all these things seemed like good reasons to write music that sounds accessible but is also a bit strange."
Scored for the typically astringent De Vol?harding instrumentation of winds (including three saxophones), brass, piano, and double bass, M is for Man, Music, Mozart might seem simple, but it is really a remarkable stylistic syn?thesis that Mr. Andriessen is uniquely capable of achieving. Tonight, Ms. Zavalloni's emotionally detached delivery senza vibrato sempre brings with it echoes of the cabaret, specifically com?posers like Weill and Milhaud who also delight?ed in blurring the boundary between popular and classical music. The hauntingly tender saxo?phone melodies in "Vesalius" and "Instrumental 11" explicitly recall Milhaud's Creation du Monde, a "fitting reference for a film about cre?ation." More literal musical quotations appear in "Instrumental I," where two Mozart piano sonatas (K. 310 and K. 545) are transformed by their dry, biting, Stravinskian context. Indeed, it is always Stravinsky who tempers the stylistic brew and makes it cohere even when Mozart comes very close to pop music, as in the boogie-woogie ostinato of "Instrumental III" or the wailing saxophones and brass that remind us of Mr. Andriessen's love for big band swing. Mr. Andriessen does not deny his debt to Stravinsky. "He is in my heart and my consciousness so strongly all the time. Harmony, ostinatos, ideas about cross-rhythms, ambiguity about who is on the beat and who is on the syncopation. There are all kinds of tricks I learned from Stravinsky." But Mr. Andriessen's identification with Stravin?sky extends beyond musical technique to a con-
M is for Man, Music, Mozart
The Alphabet Song
A is for Adam and
E is for Eve.
B is for bile, blood and bones.
C is for conception, chromosomes and clones.
D is for Devil.
F is for fertility and Venus' fur.
G is for gems and growth and genius.
H is for hysteria.
I is for intercourse.
J is for Justine or the misfortunes of virtue.
K is for Kalium, or potassium, if you like.
L is for lust, and lightning, lightning...
The Vesalius Song
A phenomenon oiled by blood,
made of unequal parts like a Cellini
A little gold and a little charcoal.
A little bone, a little wax.
A little alcohol, a little horror and a little gum.
A little ivory,
a little sulphur,
a little damp dust,
a sluice of fluids.
Twenty-four pulleys, one hundred
two lenses, dark shadows,
swivels, a syringe,
and various random involuntary motions.
The Schultz Song
A trembling and some laughter,
a squirt of pee,
a spit,
whispers of the heart,
a smell,
the drift to sleep,
pursuit by Gods,
exposure of the bum,
leaving slowly,
sucking in cold air round a warm tongue,
ennui synchronized to the pulse,
reports from a coiled trachea,
It is only irregular clocks...
The Eisenstein Song
A man bringing himself,
melody and mathematics into perfect
and enviable proportions only more so, much more so.
All words by Peter Greenaway except "The Alphabet Song" by Louis Andriessen and Jeroen van der Linden.
M is for Man. Music, Mozart was originally written for the 1991 television special Not Mozart devised by Annette Moreau. A collaboration of English director Peter Greenaway and Louis Andriessen, M is for Man, Music, Mozart was co-produced by the BBC and the Dutch television network AVRO on the occasion of the Year of Mozart.
ception of the composer as a skilled, objective craftsman, not a vessel for personal emotion. "I'm not interested in expressing myself. I'm only interested in writing the right notes. I need to have emotional experiences to become a bet?ter person, but I never like to express myself when I write music."
So is Louis Andriessen merely a cabinet maker, as Stravinsky, tongue in cheek, once claimed to be "No, I make it a little bit more complex, because I think there should be some?thing wrong with the cabinet, something unre?solved. Like the French poet Valry said, 'What is finished is not made.' That's very important. All these other composers want to solve problems. I want to pose problems, not solve them."
Program note by C Robert Schwarz.
ouis Andriessen was born in Utrecht in 1939 into a musical family: his father Hen-drik, and his brother Juriaan were estab?lished composers in their own right. Mr. Andriessen studied with his father and Kees van Baaren at the Hague Conservatory, and between 1962 and 1964 undertook further studies in Milan and Berlin with Luciano Berio. Since 1974
he has combined teaching with his work as a composer and pianist. He is now widely regard?ed as the leading composer working in the Netherlands today and is a central figure in the international new music scene.
From a background of jazz and avant-garde composition, Louis Andriessen has evolved a style employing elemental harmonic, melodic, and rhythmic materials, heard in totally distinc?tive instrumentation. His acknowledged admira?tion for Stravinsky is illustrated by a parallel vigor, clarity of expression, and acute ear for color. The range of Mr. Andriessen's inspiration is wide, from the music of Charles Ives in Anachronie I, the art of Mondriaan in De Stijl, and medieval poetic visions in Hadewijch, to writings on shipbuilding and atomic theory in De Materie Part I. He has tackled complex cre?ative issues, exploring the relation between music and politics in De Staat, the nature of time and velocity in De Tijd and De Snelheid, and questions of mortality in Trilogy of the Last Day.
Louis Andriessen's compositions have attract?ed many leading exponents of contemporary music, including the two Dutch groups named after his works De Volharding and Hoketus. Other eminent Dutch performers include the Schoenberg Ensemble, the ASKO Ensemble, the
Netherlands Chamber Choir, the Schoenberg Quartet, pianists Gerard Bouwhuis and Cees van Zeeland, and conduc?tors Reinbert de Leeuw and Edo de Waart. Groups outside the Netherlands who have commissioned or per?formed his works include the San Francis?co Symphony, BBC Symphony Orchestra, Kronos Quartet, Lon?don Sinfonietta, Ensem?ble Modern, Ensemble InterContemporain, Ice?breaker, the Bang on a
Louis Andriessen
ums University Musical Society
Can All Stars, and the California EAR Unit.
Collaborative works with other artists include a series of dance projects, the full-length theater piece De Materie created with Robert Wilson for the Netherlands Opera, and three works created with Peter Greenaway: the film M is for Man, Music, Mozart, and the stage works ROSA, Death of a Composer and Writing to Vermeer, premiered at the Netherlands Opera in 1994 and 1999 respectively. Recent collaborations with filmmaker Hal Hartley include The New Math(s), broadcast on TV and performed inter?nationally including at the Barbican in London and the Bergen Festival. Nonesuch Records has released a series of recordings of Mr. Andriessen's major works, including the com?plete De Materie and ROSA, Death of a Com?poser.
Recent commissions include La Passione for the London Sinfonietta, Garden of Eros for the Arditti Quartet, and Racconto dall' inferno for MusikFabrik, which receives its US premiere in Los Angeles in March 2006. Future plans include commissioned works for Netherlands Opera and Musica VivaBavarian Radio Symphony Orchestra.
Louis Andriessen is published by Boosey & Hawkes.
ichael Haithcock is Director of Bands and of Instrumental Studies at the University of Michigan, following 23 years on the faculty of Baylor University. He conducts the U-M Symphony Band, guides the graduate band and wind ensemble conducting program, and provides administrative leadership for all aspects of the U-M band program.
Ensembles under Professor Haithcock's guid?ance have received a wide array of critical acclaim for their high artistic standards of per?formance and repertoire. These accolades have come through concerts at national and state conventions and recordings on the Albany, Arsis, and Equilibrium labels.
Mr. Haithcock was selected to conduct the world premiere of Daron Hagen's Bandanna,
an opera for voice and wind band commis?sioned by the College Band Directors National Association. He has earned wide praise for his innovative approaches to developing the wind ensemble repertoire and is in constant demand as a guest conductor and presenter at sympo?siums and workshops. Recent appearances include the University of Kansas, University of North Dakota, Hart College, Texas A&M-Com-merce, and the Interlochen Arts Academy, as well as festival and all-state appearances throughout the country.
Recipient of the 1996 Outstanding Alumni Award from the East Carolina University School of Music, Mr. Haithcock has completed addi?tional studies at the Herbert Blomstedt Orches?tral Conducting Institute. His articles on conducting and wind literature have been pub?lished by The Instrumentalist, the Michigan School Band and Orchestra Association, the School Musician, the Southwest Music Educa?tor, and WINDS magazine. Mr. Haithcock is active in a variety of professional organizations including the music honor society Pi Kappa Lambda, the American Bandmasters Associa?tion, the College Band Directors National Asso?ciation (currently National Immediate Past President), the Conductors Guild, the Music Educators National Conference, the Texas Music Educators Association, and the World Association of Symphonic Bands and Wind Ensembles.
Michael Haithcock
devoted advocate of contemporary music, violinist Monica Germino (USThe Netherlands) has premiered numerous works throughout the world. High?lights include appearances at the Queen Eliza?beth Hall and the Barbican Centre in London, Agora Festival in Paris, Pontino Festival in Italy, Berliner Festspiele in Berlin, Queensland Biennial
Festival in Australia, Bergen International Festival and Ultima Festi?val in Norway, Concert-gebouw in Amsterdam, and Lincoln Center for the Performing Arts in New York. Ms. Germino performs often as a soloist and chamber musician with contem?porary ensembles such
as the Schoenberg Ensemble, Asko Ensemble, and Orkest de Volharding (The Netherlands), MusikFabrik (Germany), Oslo Sinfonietta (Nor?way), and the London Sinfonietta (UK).
In 1997, she joined forces in founding ELEC-TRA, an Amsterdam-based, four-member mod?ern music ensemble that has collaborated with and commissioned composers from around the world. Ms. Germino has worked with a multi?tude of composers, including Louis Andriessen, Martin Bresnick, John Cage, Gyorgy Ligeti, Jacob ter Veldhuis, and Christian Wolff. Her work with Louis Andriessen spans many years; since 1994 she has performed numerous solo and ensemble pieces. She premiered Passeggiata in the Con-certgebouw Amsterdam, and recorded it for DVD release. In 2002, Mr. Andriessen wrote a double concerto for Ms. Germino and co-soloist Cristina Zavalloni. In 2005, she premiered Mr. Andriessen's solo violin piece, dedicated to her, at the Holland Festival.
She has worked with various artists in creat?ing interdisciplinary projects, collaborating with the dance company Krisztina de Chatel, chore?ographers Dylan Newcomb and Betsy Torenbos, and film director Hal Hartley. A new work by composer Jacob ter Veldhuis and choreographer
Nanine Linning features Ms. Germino with her electric violin on stage with dancers from Scapino Ballet Rotterdam. Future plans include a collaboration with pianist Tomoko Mukaiyama performing music by David Dramm in a new dance piece by choreographer Krisztina de Cha-tel. A regular performer at the Grand Teton Music Festival in the US, Ms. Germino also teaches, leads workshops and master classes, and introduces new music in many countries and venues, most recently in Vietnam.
Monica Germino holds diplomas with Honors from New England Conservatory and Yale Uni?versity where she received the Charles Ives Scholarship for Outstanding Violin Performance and the Yale Alumni Association Prize. Her prin?cipal teachers were Syoko Aki, Vera Beths, James Buswell, and members of the Tokyo String Quartet. She won the Crane New Music Com?petition (US), and was awarded a Frank Hunt-ington Beebe Grant to study in the Netherlands at the Royal Conservatory. She plays on a Joannes Baptista Ceruti violin from Cremona, 1802, on permanent loan from the Elise Mathilde Foundation. In 2003 she acquired a "violectra," a custom-made electric violin, and is exploring new possibilities and commissioning new works for the instrument.
ristina Zavalloni was born in Bologna, Italy in 1973. Her multilayered skills lead her to move freely among different musi?cal genres. Her first love is jazz in which genre she has recorded several CDs including Danse a Rebours, Come Valersi non servilmente di Bertolt Brecht, and When you yes is yes!
Ms. Zavalloni performs regularly in a duo with Stefano De Bonis (Scoiattoli Confusi) and Francesco Cusa, with whom she wrote the music for the silent movie Aurora by Murnau. She also collaborates with musicians including Carla Bley, George Russel, Yves Robert, Michel Godard, Uri Caine, Han Bennik, and Pierre Favre. Meeting important figures of the contemporary music world including Sylvano Bussotti and, later, Louis Andriessen, has proven to be instru-
Monica Germino
mental in her musical development. She has established a significant collaboration with Mr. Andriessen and has per?formed his music at the Contergebouw in Ams?terdam, Queen Eliza?beth Hall in London, Berliner Festwochen, at Lincoln Center in New
York City, and at La Scala in Milan.
Ms. Zavalloni has performed at major centers and festivals all over the world. She sang as Jus?tine-Juliette in Bussotti's La Passion selon Sade; she sings as a soloist with the ensemble Sentieri Selvaggi conducted by Carlo Boccadoro; and she was Lucilla in Rossini's La Scala di seta at the Teatro Comunale in Bologna. Ms. Zavalloni has worked with conductors including Martin Brab-bins, Stefan Asbury, Reenbert De Leeuw, Diego Masson, Oliver Knussen, Ernst Van Tiel, and Jur-jen Hempel.
Cristina Zavalloni takes part in the "Big Noise" project in a performance of Gli Toccha la Mano, written for her by Cornelis De Bondt. In 2003, she received a commission from ITeatri for an original production entitled Con tutto il mio amore: A Tribute to Cathy Berberian 20 years later, which included premieres by composers Louis Andriessen, Uri Caine, Claudio Lugo, and Paolo Castaldi. In the same year, she recorded the CD Cristina Zavalloni for Sensible Records, Milan, together with pianists Andrea Rebau-dengo and Stefano De Bonis. In 2004, Michael Nyman wrote a new piece for her entitled Acts of Beauty. She often performs seminal 20th-century repertoire including Shoenberg's Pier?rot Lunaire and Luciano Berio's Folk Songs.
teven Ball, in addition to his travels as a concert organist, is widely recognized both for his work as a carillonneur and campanologist (someone who studies bells and bell ringing). He can be heard frequently on the instruments of the University of Michigan where
he both performs and occasionally teaches. In addition to being granted a Fulbright Scholarship in 200102 for the continued study of Campanology in the Netherlands, Mr. Ball is also a former student of both the Dutch and Flem?ish Carillon Schools. He was received into the
Guild of Carillonneurs of North America as a member with "Carillonneur" status in 1998.
Additionally, Mr. Ball is co-founder of the international corporation Het Molenpad Exper?tise (HME) which provides clients worldwide with all manner of services in the art of restora?tion, reconstruction, research, fabrication, and maintenance for all carillons, tower bells, and clockworks.
hen not filling his roll at Ghostly International's Spectral Sound in Artists & Repertoire (A&R) or free?lance design consulting, Jakub Alexander, aka Aarnio, is entertaining his love for Scandinavian design--a field he is well-versed in. Born in
Czestochowa, Poland, as the son of internationally recognized painter Ewa Harabasz, Jakub has been raised with a heightened sensitivity to all things aes?thetic.
As a function of his continued interest in bringing the art, music, and design cultures closer together, he has been
sharing his unique blend of deep minimal tech?no, ambient, and experimental noise art for sev?eral years under the moniker Aarnio (named for a 1960's industrial designer) in carefully crafted, live audiovideo DJ sets.
Founded by Jakub Alexander in 2003, ATMSPHR is an ever-expanding collective of ere-
Cristina Zavalloni
Steven Ball
ums University Musical Society
While tonight's concert event features the UMS debut of works from composer Louis Andriessen, his father, composer Hendrik Andriessen, has an interesting UMS performance history in Ann Arbor. In 1965, Hendrik's Stomello was performed by the Netherlands Chamber Choir; and in 1969, Symphonic Study was presented by the Hague Philharmonic at Hill Auditorium.
Tonight's event showcases the UMS debuts of soloists Cristina Zavalloni and Monica Germino and features Steven Ball, who regularly treats UMS audiences to pre-concert music throughout the season on the Charles Baird Carillon. Configurations of the U-M Symphony Band have pre?viously appeared twice on the UMS series: in a 1991 appearance with the Canadian Brass; and in 1994, supporting the staged works of choreographer Martha Graham. Conductor Michael Haithcock makes his UMS debut tonight.
Aarnio (Jakub Alexander) makes his second UMS appearance, previously spinning during the intermission of UMS's double-bill presentation of jazz trios E.S.T. and The Bad Plus in 2004.
ative-minded people and organizations all focused on the promotion and advancement of various forms of experimental and underground art and music. Through the execution of various events and free projects, ATMSPHR seeks increased exposure of such arts as an enrich?ment to society and a creative nexus point for a growing following of alternative forms of artis?tic expression.
Baltimore's Greg Malcolm and San Diego's Chad Mossholder comprise a unique musical entity as the duo Twine. Because of their phys?ical distance, their collaboration is held in the virtual realm and their music contains a mysteri?ous and unresolved quality.
Having recorded for labels such as Bip-Hop (France), Hefty (US), and Komplott (Sweden) and having performed worldwide, they have quickly found themselves in the pantheon of American producers in the abstract field.
Their recordings for Ghostly International, beginning with fall 2003's Self-Titled LP, contin?ue their moody soundscapes, this time aug?mented by the ethereal moans of distant female voices. Comparisons to artists such as Cocteau Twins and Fennesz can be made, but Twine's sound is entirely their own.
An avant-gardist who earned surprising access to the mainstream, Peter Greenaway is among the most ambitious and controversial filmmak?ers of his era. Trained as a painter and heavily influenced by theories of structural linguistics, ethnography, and philosophy, Greenaway's films traverse often unprecedented ground, consis?tently exploring the boundaries of the medium by rejecting formal narrative structures in favor of awe-striking imagery, shifting meanings, and mercurial emotional tension; fascinated by for?mal symmetries and parallels, his material dis?plays an almost obsessive interest in list-making and cataloguing, earning equal notoriety for its provocative eroticism as well as its almost self-conscious pretentiousness.
Born April 5, 1942, in Newport, Wales, Mr. Greenaway was raised primarily in nearby Chingford. The first of his experimental short films to gain widespread distribution was 1969's seven-minute Intervals. In 1983, he helmed documentaries on the American composers Robert Ashley, John Cage, Philip Glass, ana Meredith Monk for Britain's Channel Four television network. With 1989's more accessible The Cook, the Thief, His Wife and Her Lover, Mr. Greenaway made his American breakthrough. A corrosive allegory of life in contemporary England, the film became the subject of much controversy in
the US when it fell subject to the MPAA's new "NC-17" rating, consequently winning the biggest audiences of the director's career.
Peter Greenaway returned to television helm?ing 1991's M Is for Man, Music, Mozart and the 1993 revisionist biopic Darwin. Mr. Greenaway currently resides in the Netherlands.
The University of Michigan Symphony Band
has long been a symbol of artistic excellence. From the era of William D. Revelli (1935-1971) through the tenure of H. Robert Reynolds (1975-2001), the sound of this magnificent ensemble has inspired performers, conductors, and composers of many generations to explore the band as a medium for the highest levels of artistic expression. Through recordings and con?certs in major venues, today's Symphony Band continues to garner accolades for its profes?sional level of performance and exploration of both standard and cutting-edge repertoire.
Ann Arbor, Michigan's Ghostly International was created in 1999 by Sam Valenti IV in his dorm room at the University of Michigan. Since then, the label has become one of America's premiere channels for forward-thinking music, from avant-pop to abstract electronics. Home to artists such as Dabrye, Mobius Band, Kill Memory Crash, Midwest Product, and Lusine, Ghostly celebrates a diversity of styles that run the elec?tronic gamut.
Ghostly International emphasizes the artist behind the machines, the personalities that drive this music. Through its release history, including the acclaimed Disco Nouveau and Idol Tryouts compilations, the label has received praise from international critics and music buyers alike. Ghostly International and its dance-floor off?shoot, Spectral Sound, true to their art historical roots, focus on a strong visual presence and an eye for the smallest detail. The labels provide the complete package, and are capable of earning trust across a myriad of styles and incarnations.
University of Michigan School of Music
Christopher Kendall, Dean
University of Michigan Symphony Band
Michael Haithcock, Director of University Bands
La Passione
Rachel Patrick Karen Jenks Mark Portolese
Flute and Piccolo
Brandy Hudelson Alaina Bercilla
Yi-Chun Chen
Faith Scholfield Sarah Bowman
English Horn
Sarah Bowman
Bass Clarinet
Margaret Worsley
Bass and Contra-bass Clarinet
Lisa Raschiatore
Benjamin Albright Brian Winegardner
Scott Copeland
Rachel Parker William Wiegard
Elliot Tackitt Alaina Alster
Hayes Bunch Andre Dowell
John Boonenberg Rebecca Choi
Julius Abrahams
Electric Guitar
Matthew Dievendorf
Electric Bass
Keith Reed
Richard Moore
M is for
Man, Music, Mozart
Brandy Hudelson
Soprano Saxophone
Zachary Shemmon
Alto Saxophone
Dan Puccio
Tenor Saxophone
Joseph Girard
William Wiegard
Scott Copeland Benjamin Albright Brian Winegardner
Elliot Tackitt Patrick Coletta Alaina Alster
John Boonenberg
Double Bass
Isaac Trapkus
Production Staff
David Aderente, Managing Director of Ensembles Benjamin Albright, Personnel Manager Maureen Conroy, Librarian
Kristin Naigus, Equipment Assistant Michael Steiger, Equipment Assistant

Pfizer Global Research
and Development
Soweto Gospel Choir
Musical Directors
David Mulovhedzi and Lucas Bok
Lucas Deon Bok, Jabulile Dladla, Jeho Fata, Nathi Hadebe, Shimmy Jiyane, Mirriam Matshepo Kutuane, Sipokazi Luzipo, Vusumuzi Madondo, Sibongile Makgathe, Undo Makhathini, Joshua Mcineka, Mandla Modawu, Paseka Motloung, Mary Motselele, Original Velile Msimango, Mulalo Mulovhedzi, Maserame Ndindwa, Gregory Ndou, Sipho Ngcamu, Thando Ngqunge, Nozipho Ngubane, Linda Nxumalo, Rebecca Nyamane, Vusimuzi Shabalala, Lehakwe Tlali
Andrew Kay, Andrew Kay and Associates
Clifford Hocking and David Vigo, Hocking and Vigo
Executive Producer and Show Director Beverly Bryer
Shimmy Jiyane, Choreographer
Lyn Leventhorpe, Costume Designer
Robin Hogarth, Record Producer
Margot Teele, Associate Producer and Tour Manager
Emma Calverley, Associate Producer
M. Namba
G. Vilakazi, N. Vilakazi
Traditional, Arr. S. Mdakeng
D. Mulovhedzi
Sunday Afternoon, February 19, 2006 at 4:00 Hill Auditorium, Ann Arbor
Sipokazi Luzipo, Jabulile DIadIa, Narrators
Thina Simnqobile (Sung in Zulu) Jabulile DIadIa, Lead Vocals
Joko Yahao (Sung in Sotho)
Sibongile Makgathe, Lead Vocals
Noyana (Sung in Xhosa)
Sipokazi Luzipo, Lead Vocals
Thapelo (Sung in Sotho)
Shimmy Jiyane, Lead Vocals
Masigiye'Bo (Sung in Zulu)
Mulalo Mulovhedzi, Noluthando Ngcunge, Lead Vocals Sipokazi Luzipo, Narrator
J. CleggP. Gabriel TraditionalB. Marley J. Shabalala
D. Heymann, P. Cohen, I. Cohen, and T. Fox
TraditionalL. Bok, V Jiyane, J. Mcineka, N. Vilakazi
S. Linda
G. Vilakazi, N. Vilakazi
Traditional, Arr. J. Shabalala
AsimbonangaBiko (Sung in Zulu)
Undo Makhathini, Lehakwe Tlali, Lead Vocals
Avulekile AmasangoOne Love (Sung in Zulu)
Nozipho Ngubane, Lehakwe Tlali, Lead Vocals
Lelilungelo Ngelakho (Sung in Zulu)
Nathi Hadebe, Thando Ngqunge, Lead Vocals
Shimmy Jiyane, Lead Vocals
Ahuna Ya Tswanang Le JesuKammatla (Sung in Sotho)
Thando Ngqunge, Shimmy Jiyane, Paseka Motloung, Lead Vocals
Mbube (Sung in Zulu)
Nozipho Ngubane, Undo Makhathini, Shimmy Jiyane, Lucas Bok, Lead Vocals
Seteng Sediba (Sung in Sotho)
Sibongile Makgathe, Nozipho Ngubane, Nkosinathi Hadebe, Lead Vocals
Dance Segment
Sipho Ngcamu, Percussion (Original Msimango)
Linda Nxumalo, Paseka Motloung, Jeho Fata, Mary Motselele,
Ngingowakho (Sung in Zulu)
Sibongile Makgathe, Vusi Shabalala, Lead Vocals
Tshepa Thapelo (Sung in Sothu)
Noluthando Ncgunge, Jabulile Dladla, Nkosinathi Hadebe, Lead Vocals
Modimo (Sung in Zulu)
Lehakwe Tlali, Lead Vocals
Woza Meli Wami (Sung in Zulu)
Mulalo Mulovhedzi, Lead Vocals
Traditional Bahamian
Traditional, Arr. L Bok
Traditional American Traditional American
Wetherley, Adams Traditional
E. Sontonga, Ml. de Villiers, Prof. J.S.M. Khumalo, D. de Villiers, J. de Villiers, J. Zaidel-Rudolph, R. Cock, C. Langenhoven, A. Bender, Prof. E. Botha, Prof. E. Kunene, Prof. J. Lenake, Prof. F. Meer, Prof. K. Mngoma
I Bid You Good Night
Shimmy Jiyane, Sibongile Makgathe, Lead Vocals
Sipokazi Luzipo, Lead Vocals
Swing Down
Vusimuzi Madondo, Lucas Bok, Sibongile Makgathe, Lead Vocals
Amazing Grace
Nkosinathi Hadebe, Undo Makhathini, Noluthando Ngqunge, Sibongile Makgathe, Lead Vocals
Holy CityBayete (Sung in Zulu)
Lucas Bok, Undo Makhathini, Sipokazi Luzipo, Vusimuzi Shabalala, Lead Vocals
Nkosi Sikileie (South African National Anthem; sung in Xhosa, Sotho, Afrikaans, English)
Performed with the Soweto Gospel Choir band
Lucas Bok, Joshua Mcineka, Vusimuzi Shabalala, Mandla Modawu
35th Performance of the 127th Annual Season
Global Series: Africa
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This afternoon's performance is sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer for his continued and generous support of the University Musical Society.
This afternoon's performance is funded in part by the U-M Office of the Senior Vice Provost for Academic Affairs.
Educational programs funded in part by the Whitney Fund.
Media partnership for this performance provided by WEMU 89.1 FM, Metro Times, and Observer & Eccentric Newspapers.
Special thanks to the UMS NETWORK and the Ann Arbor Chapter of the Links. Soweto Gospel Choir appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
ollowing the success of its 2005 debut North American tour, the Soweto Gospel Choir is delighted to return to the US for its second tour, which will bring the group to 45 cities coast-to-coast. The choir is proud to release their second CD, Blessed, which follows up their first album, Voices From Heaven.
The choir is youthful, colorful, and has a con?temporary feel. In 2004 they won the American Gospel Music Award for "Best Choir" and the Gospel Music Award for "Best International Choir." In South Africa, their debut CD Voices From Heaven was nominated for a SAMA Award for "Best Traditional Gospel." This CD also garnered rave reviews, having reached the number-one spot on Billboard's World Music Chart within three weeks of its US release, debuting at number three. Their new CD, Blessed, was released in South Africa in 2005, through Universal Music and in the US through Shanachie Entertainment. The program you are hearing today features the music of Blessed.
The rise of the Soweto Gospel Choir on the international concert scene has been nothing short of spectacular. The choir performs tradi?tional African Gospel in six native languages, both a cappella and with live music accompani?ment, as well as Western gospel favorites such as "Amazing Grace" and "Oh Happy Day". The choir performed under the auspices of former President Nelson Mandela at the 46664 Concert in Cape Town 2003, alongside other musical greats like Bono, Queen, Anastacia, Peter
Gabriel, Jimmy Cliff, and the Eurythmics.
After performing worldwide, the choir was thrilled to come home to debut on the South African stage for a season at the Johannesburg Civic Theatre in July 2005. In November of that year, they made a guest appearance with Diana Ross during her concerts in South Africa for "Unite of the Stars," a benefit concert for the Nelson Mandela Children's Fund and Unite Against Hunger charities.
No amount of international recognition and praise has diverted Soweto Gospel Choir from the mission it holds close to its heart. In 2003 the choir founded its own AIDS orphans foun?dation, Nkosi's Haven Vukani. With the plight of South Africa's sick and impoverished children of utmost concern, the foundation supports fami?lies and organizations that receive little or no government support. Through touring world?wide, the choir has raised international aware?ness of children orphaned by AIDS.
This afternoon's performance marks the Soweto Gospel Choir's second UMS appearance. The Choir made its UMS debut in February 2005 at Hill Auditorium.
David Mulovhedzi has been managing Gospel choir groups in Soweto since 1986. A member of the Holy Jerusalem Evangelical Church, this creative and enterprising Soweto resident has entertained the President of China, the Prince of
"...a cornucopia of remarkable voices: sharp, sweet, kindly, raspy, and incantatory leads above a magnificently velvety blend.... The music was both meticulous and unstoppable...the songs were both spirited and spectacular."
--Jon Pareles, The New York Times
Saudi Arabia, and former President Nelson Man?dela. His choir, the Holy Jerusalem Choir, also performed at a Miss World pageant and for Michael Jackson during his South African tour. Mr. Mulovhedzi's extensive knowledge of African Gospel and traditional music has been extremely influential in the selection of the repertoire for the choir.
Lucas Deon Bok was first introduced to music by his father who is a guitarist. By the age of seven, he was playing the bass guitar and later moved on to acoustic guitar after he joined a church choir. Mr. Deon Bok writes music, plays multiple instruments and is a vocalist. He has performed successfully with a group called In Harmony and in 1995 he participated in a proj?ect called Gospel Explosion. In 1999 he was employed as the music director of the Berea Christian Tabernacle (AFM).
As long as he can remember, Shimmy Jiyane
has wanted to dance. And he has realized his dream with performances in shows with Tina Turner and South African stars like Vicki Sam-
son, and choreographers Adele Blank, David Matamela, and Debbie Rakusin. David Matamela and Debbie Rakusin took Mr. Jiyane's abilities to greater heights, turning his natural exuberance into quality performances in con?temporary jazz and traditional dance. During 1997, he was a member of Vusa Dance Compa?ny's African Moves which performed to capacity audiences at the Melbourne International Festi?val. This was followed in 1998 by a nationwide tour of Australia. Mr. Jiyane now choreographs, dances, and performs; he was recently nominat?ed for a FNB Vita Award and he has appeared on numerous stage and TV shows. His recent work with the Gospel group Joyous Celebration has allowed him to concentrate on his vocal per?formance capacities.
Touring Staff
Allan Maguire, Production Manager Andrew Ride, Lighting Operator Paul Bardini, Sound Operator
The Soweto Gospel Choir's recordings Voices From Heaven and Blessed are available on the Shanachie Entertainment label. For more information, please visit
Soweto Gospel Choir
Edward Surovell
Takacs Quartet
Edward Dusinberre, Violin Karoly Schranz, Violin Geraldine Walther, Viola Andras Fejer, Cello
James Dunham, Viola
Wolfgang Amadeus Mozart
Franz Schubert
Wednesday Evening, February 22, 2006 at 8:00 Rackham Auditorium, Ann Arbor
String Quartet No. 19 in C Major, K. 465
Adagio-Allegro Andante cantabile Menuetto: Allegro Allegro
String Quartet No. 13 in a minor, D. 804
Allegro ma non troppo Andante
Menuetto: Allegretto Allegro moderato
String Quintet No. 3 in C Major, K. 515
Menuetto and Trio: Allegretto
Mr. Dunham
36th Performance of the 127th Annual Season
43rd Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Tonight's performance is sponsored by Edward Surovell Realtors. Special thanks to Ed and Natalie Surovell for their continued and generous support of UMS.
Media partnership for this performance provided by WGTE 91.3 FM.
The Takacs Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and DeccaLondon Records.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at the South Bank Centre, London.
Large print programs are available upon request.
String Quartet No. 19 in C Major, K. 465
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 7 79 7 in Vienna
We commonly think that Mozart composed without any effort at all, with entire pieces ready in his head before he ever put pen to paper. While this is often true--we have heard enough stories of the incredible speed with which he could write--there are exceptions, none more famous than the six string quartets Mozart ded?icated to his friend Franz Joseph Haydn. Twenty-four years older than Mozart, Haydn was universally recognized as the "father" of the string quartet, and Mozart was fully conscious of the challenge this represented. The six quar?tets took a total of three years to write from 1782 to 1785 (though Mozart, of course, wrote a great deal of other music during that time), and the original manuscript shows numerous corrections, alterations, and other signs indicat?ing that the genius made a conscious effort to outdo himself this time. Not for nothing did Mozart refer to his "long and arduous work" on these quartets in the flowery Italian dedicatory letter to Haydn that he appended to the score. But the rewards were soon manifested. Haydn uttered the following words to Mozart's father Leopold, words that have gone down in history: "I tell you before God as an honest man that your son is the greatest composer known to me either in person or by reputation. He has taste, and what is more, the most profound knowl?edge of composition."
The present work, written last in the set of six, shows ample evidence of the special care Mozart lavished on these quartets. It starts with an absolutely unusual slow introduction whose harmonic irregularities earned the work its nick?name "The Dissonant." "What key are we actu?ally in, for the first dozen measures," asks the critic Alan Kriegsman, in mock exasperation, writing in The Compleat Mozart, an authorita?tive guide to the composer's music published in 1990. Haydn must have remembered this intro-
duction a dozen years later (Mozart was no longer alive by then), when he wrote "The Rep?resentation of Chaos" as the opening to his ora?torio The Creation.
By the end of the first two-dozen measures, Mozart decides that it is time to settle on C Major, the quartet's home key, and a spirited sonata-allegro gets underway. Yet even here, the simple and ingratiating tone does not pre?vent a high degree of sophistication in the work?ing-out of the themes. Contrapuntal devices are frequently used as the themes are developed, and the four instruments are equal to a degree rarely seen in earlier quartets. These were some of the novelties in Haydn's latest set of quartets, the six works published in 1781 as Op. 33; but Mozart applied them in a way that was his and his alone.
The second-movement "Andante cantabile" abounds in uniquely Mozartian moments, such as its intense opening melody or the beautifully rising sequence that the instruments pass on to one another--a device that will be repeated in the sublime slow movement of Mozart's Sym?phony No. 39 (K. 543). At a few points, the music seems not so much to be responding to Haydn but rather to anticipate Beethoven who, 15-years-old in 1785, was still two years away from his first and only meeting with Mozart with whom he hoped to study.
The third movement is a minuet, but you cer?tainly couldn't dance to it, the way you still can to many of Haydn's minuets. In the present work, the many structural extensions and har?monic surprises would certainly make you trip over your partner. The passionate c-minor tone of the central Trio section does not help lighten the atmosphere--to the contrary, it strikes a characteristically "proto-Romantic" tone.
At first sight, the finale gives the impression of a simple contradanse similar to so many Haydnian finales. But soon, Mozart introduces considerable complications--changes in mood, unexpected modulations and phrase extensions, more counterpoint--so that the entire move?ment reaches significant levels of complexity. The ending, however, is surprisingly simple--as
though we hadn't completed this journey through distant keys and other elaborate com?positional techniques.
String Quartet No. 13 in a minor, D. 804
("Rosamunde") Franz Schubert Born January 31, 1797 in Himmelpfortgrund,
near Vienna (now part of the city) Died November 19, 1828 in Vienna
During his teenage years, Schubert wrote more than a dozen string quartets that he played at home with his father and his brothers. After leaving the house of his parents, the family chamber music sessions stopped, and so did the production of string quartets. By the time Schu?bert returned to quartet writing, it was with very different ambitions: he now aimed for publica?tion and nothing less than professional perform?ance.
Vienna was the first city to have important public string-quartet concerts, thanks to an out?standing violinist named Ignaz Schuppanzigh (1776-1830) whose group premiered Beethoven's Op. 59 and several of the late quar?tets as well. After several years abroad, Schup?panzigh returned to Vienna in 1823, and this no doubt provided a major impetus for Schubert to resume his quartet-writing.
In fact, the Schuppanzigh Quartet presented the String Quartet in a minor on March 14, 1824 at the Society of the Friends of Music (Gesellschaft der Musikfreunde)--by far the most prestigious venue for a work by Schubert up to that point. Soon afterwards, the publisher Sauer & Leidesdorf printed the work with a ded?ication to Schuppanzigh. It was supposed to be the first quartet in a series of three. Schubert did compose a second work but failed to repeat the success of the a minor. That work, the now-cel?ebrated "Death and the Maiden," was rejected by Schuppanzigh and never published during Schubert's lifetime. The third quartet, the mas?terpiece in G that remained Schubert's last work in the genre, was not written until three years
later, and did not become known to the world until much later.
Schubert reached the summit of his art dur?ing these, the final years of his tragically short life; but physically and emotionally, he was not well. He was suffering from syphilis, the first unmistakable symptoms of which appeared in 1823. He was given to bouts of depression, and, in a famous letter to a friend dated March 31, 1824 (17 days after the premiere of the a-minor quartet), he quoted from Goethe's Gretchen at the Spinning-Wheel which he had set to music so brilliantly 10 years earlier: "My peace is gone, my heart is sore, I shall find it never and never?more..." Is it a coincidence that the accompani?ment figure played by the second violin at the opening of the quartet is almost identical to the motif of the spinning wheel (albeit in slower motion)
The first violin's melody, however, is new, and so is the astonishing development to which it, and the subsequent themes, are subjected in this poignant "Allegro ma non troppo." A deep sadness is periodically relieved by beautiful dreams, and the tension erupts in powerful, if brief, dramatic outbursts. But Schubert ties all these emotional extremes together by the con?stant use of an opening motif, a simple descending triad that becomes capable of expressing widely divergent states of mind.
The second movement uses a famous melody from Rosamunde, the incidental music Schubert had written to a soon-to-be-forgotten play by Helmine von Chezy, performed twice at the The?ater an der Wien in December 1823. This melody, which mixes quiet serenity with deep nostalgia, alternates with a "B" section whose syncopations and off-beat accents go against the imperturbable flow of the main melody. The second time around, however, this same main melody suddenly changes character and becomes intensely dramatic, with bold modula?tions and agitated rhythmic figures, before the idyll returns at the end.
The third-movement minuet includes anoth?er self-quote, from the 1819 song "Die Gotter Griechenlands" (The Gods of Greece), after a
poem by Schiller. The opening line of the poem: Schone Welt, wo bist du (Fair world, where are you) struck a deep chord with Schubert: despite the presence of minuet rhythm, the dance character is attenuated by the long pedal notes of the cello and by the stubborn repeats of the Schone Welt quote. The Trio section is launched by a variant of the same motive, but then takes a different turn and brings some relief with some Landler strains, but even here, the music remains more subdued than in other dance movements.
Touches of sadness remain even in the finale. The ostensibly light-hearted rondo includes a wistful ritardando in the middle of its main theme and, although the main key is A Major, the minor mode is never too far away. The pre?vailing dynamic markings are piano and pianissi?mo (with only a few, brief stormy moments). Even the ending is quiet and subdued, except for the very last pair of chords; but Schubert weakens the effect of those by using an invert?ed penultimate chord that makes the ending noticeably less definitive.
String Quintet No. 3 in C Major, K. 515
Many Mozartians have felt that it was in the string quintets, not the quartets, that the com?poser found his most personal form of expres?sion in chamber music. Not that he had invented the form himself: just as he was influenced in his quartet-writing by Joseph Haydn, he adopted the medium of the quintet with two violas from Haydn's brother Michael, who worked in Mozart's native Salzburg and who was therefore the first Haydn the young composer had met. Yet in his five mature quintets (two from 1787 and two from 1791) Mozart achieved some?thing that has absolutely no parallels in the music of either of the Haydn brothers, or any other composer for that matter. He used the augmented performing forces to create a very special density of sound and a particularly wide range of soloistic combinations.
The most frequently cited feature of the C-Major quintet is its unusual length: it is probably the most extensive of Mozart's four-movement instrumental works. What it means is that, espe?cially in the first and last movements, Mozart introduces more themes and has them undergo more extensive development than elsewhere. Already the opening theme shows this tendency of formal expansion. The first full cadence takes no fewer than 46 measures to reach, as opposed to the regular eight or 16. The road is full of unexpected detours, tonal digressions as the two protagonists of this section--the first violin and the cello--complete their soulful dia?log. The continuation is on the same epic scale, right down to the astonishing, 16-bar bass pedal (a single unchanging note in the cello) with which the movement ends.
The first edition of this quintet, published in 1789, has the minuet in second place and the slow movement in third. But that first edition is riddled with so many obvious misprints that it is almost certain that Mozart didn't see the proofs before publication. Mozart's original manuscript suggests a different order, with the "Andante" coming second; the new critical edition, pub?lished exactly 50 years ago, restored that move?ment sequence.
The slow movement is an exquisite love duet between the first violin and the first viola, with multiple themes and lavish ornamentation. The minuet and trio treat their otherwise simple melodic material with great sophistication; many of the phrases are of irregular length, and surprises of various kinds abound. One of these, a crescendo (volume increase) leading to a sud?den piano (soft) instead of forte (loud) in the trio, is particularly noteworthy. In the finale, an ingratiating opening melody becomes the start?ing point for an elaborate sonata-rondo; the subsequent themes introduce, in turn, concerto-like virtuosity for the first violin, contrapuntal writing involving all five instruments, and a clos?ing theme of almost childlike simplicity.
Program notes by Peter Laki.
oloist, chamber musician, and teacher, James Dunham is active internationally as a recitalist and guest artist. He has collab?orated with such renowned artists as Emmanuel Ax, Joshua Bell, Lynn Harrell, Cho-Liang Lin, and members of the American, Guarneri, Juilliard, Takcics, and Tokyo Quartets. An advocate of new music, composers with whom he has worked
include John Corigliano, Osvalsdo Golijov, Libby Larsen, and Christopher Rouse.
Mr. Dunham is a fre?quent guest artist with many ensembles in the US and abroad, and has served as acting princi?pal viola with the Boston Symphony (Ozawa) and Dallas Symphony (Lit-
ton). He was the founding violist of the Sequoia String Quartet, winners of the 1976 Naumburg Award, and later performed as violist of the Grammy Award-winning Cleveland Quartet. Currently Professor of Viola at Rice University's Shepherd School of Music where he directs its Master of Music in String Quartet program, Mr. Dunham previously taught at the New England Conservatory (where he also chaired the String Department) and the Eastman School of Music. He frequently presents master classes at the world's leading universities and conservatories and is much sought after as a competition jurist. Summer activities have included participation in many festivals including, Aspen, Domaine For?get, Marlboro, Musicorda, Sarasota, Tangle-wood, and Yale at Norfolk. He served as principal violist of the San Diego Mainly Mozart Festival for 10 seasons, and is a regular partici?pant in the Festival der Zukunft in Ernen, Switzerland. Mr. Dunham is featured soloist on two recent CDs (Crystal Records, Albany Records) and has recorded with the Sequoia Quartet for Nonesuch and Delos, and with the Cleveland Quartet exclusively for Telarc. His viola is a Gaspar da Salo, ca 1585.
ecognized as one of the world's premiere string quartets, the Takacs Quartet plays with a virtuosic technique, intense imme?diacy and consistently burnished tone. The ensemble explores its repertoire with intellectual curiosity and passion, creating performances that are probing, revealing, and constantly engaging. The Quartet has been described as having "warmth, exuberance, buoyancy, a teas?ing subtlety, unanimity of purpose without com?promising the individual personalities of each performer, a blossoming tone, and above all the instinct to play from inside the music." The Takcs Quartet is based in Boulder, Colorado, where it has been in residence at the University of Colorado since 1983.
Now entering its 30th season, the Takacs Quartet has performed repertoire ranging from Haydn, Mozart, Beethoven, and Schubert, to Bartdk, Britten, Dutilleux, and Sheng in virtually every music capital in North America, Europe, Australasia, and Japan, as well as at prestigious festivals, including Aspen, Berlin, Cheltenham, City of London, Mostly Mozart, Ravinia, Salzburg, Schleswig Holstein, and Tanglewood. The ensemble is also known for its award-win?ning recordings on the Decca label, including, most recently, its recording of the complete Beethoven Quartet Cycle which has been awarded a Grammy Award, two Gramophone Awards, and three Japan Record Academy Chamber Music Awards.
Takacs Quartet 0506 highlights include a three-concert series focusing on Mozart at Carnegie Hall with clarinetist Richard Stoltzman and violist James Dunham and three concerts at London's Queen Elizabeth Hall. Recent notable Takacs Quartet appearances have included per?formances of the Beethoven cycle at major ven?ues worldwide; the Brahms cycle in London; the Schubert cycle in London, Lisbon and cities in Italy, the Netherlands, and Spain; the world-pre?miere performance of Bright Sheng's Quartet No. 3; and the world premiere of Su Lian Tan's Life in Wayang.
In 2005 the Takacs Quartet signed a contract with Hyperion Records, for which their first
James Dunham
recording will be released in 2006. The Quartet has also made 16 recordings for the Decca label since 1988. The ensemble's recording of the six Bartbk String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer, while all four were students. Vio?linist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Of the original ensemble, violinist Karoly Schranz and cellist Andres Fejer remain. Violist Geraldine Walther replaced Mr. Tapping in August 2005. In addition to its residency at the University of Col?orado, the ensemble is also a Resident Quartet at the Aspen Music Festival and School, and in 2005, its members were named Associate Artists of the South Bank Center in London. In 2001, the Takacs Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
The Takacs Quartet has been making annual appearances on the UMS Chamber Arts Series since 2000. Tonight's concert marks their ninth UMS appearance. The Quartet most recently presented the complete Bart6k String Quartets in one evening on February 20, 2005, in Rackham Auditorium. Interest?ingly, violist Geraldine Walther, who makes her UMS debut with the Takacs tonight, appeared under UMS auspices in 1980 and 1986 as viola soloist with the San Francisco Symphony in Hill Auditorium.
Guest violist James Dunham makes his third UMS appearance, having appeared in 1992 and 1995 as a member of the Cleve?land String Quartet.
Takacs Quartet
Ship In A View
A production of Pappa Tarahumara Hiroshi Koike, Director
Mariko Ogawa Mao Arata Takuya Ikeno
Makoto Matsushima Keiko Hiraki Rie Kikuchi
Hiroko Nuihara Yoshiko Kinoshita Rei Hashimoto
Makie Sekiguchi Kaori Kagaya Yeung Chi Kuk
Masahiro Sugaya, Music
Naomi Fukushima, Hiroshi Koike, Scenic Design
Masato Tanaka, Makoto Matsushima, Aya Miyaki, Object
Hiroyuki Moriwaki, Light Object
Naruaki Sasaki, Video Art
Koji Hamai, Costumes
Yukiko Sekine, Lighting
Chikako Ezawa, Sound
Takashi Nishino, Object Operator
Bompei Kikuchi, Stage Manager
SAI, Inc., Production
Yuka Narasaki, Producer
Thursday Evening, February 23, 2006 at 8:00 Power Center, Ann Arbor
Tonight's production is performed without intermission.
37th Performance of the 127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Media partnership for this performance provided by Metro Times.
Special thanks to the U-M Center for Japanese Studies, U-M School of Art & Design, Chrisstina Hamilton, U-M Department of Dance, U-M Residential College, Jessica Fogel, and Beth Genne for their participation in this residency.
This performance is supported by The Japan Foundation through its Performing Arts JAPAN Program.
The current tour of Ship In A View is supported by the Tokyo Metropolitan Government.
Pappa Tarahumara appears by arrangement with Cathy Pruzan, Artist Representative in association with Art Becofsky Associates.
Large print programs are available upon request.
Ship In A View
his work realizes director Hiroshi Koike's creation of an original landscape using a town by the sea in the 1960s as its motif. The ship represents something linking the town and the world, and also an exit to the world out?side. While the scenes of the nostalgic seaside town are portrayed with poetic sentiment, man's inherent but unfulfilled desire to escape is under the guise of the ship.
The ship crosses the stage slowly. A pole is quietly standing high in the middle of the stage. It looks like both a mast of a ship and a pole standing in a school playground. A nostalgic singing voice resonates in the air. There are peo?ple wearing black and white costumes. Their restrained movements eventually become an intense dance and the stage suddenly transi-
tions into a magnificent place filled with voices. The horizon upstage shines and the silhouettes of the people standing there emerge. It is day?break.
Concrete movements and abstract dance create the scene of the town. A woman eating an apple, The song of a fermented soybean ven?dor. A classroom scene. A mysterious man danc?ing with a doll. Everyday feelings that make it all the more deep-rooted are revealed. A man is sit?ting upstage as if he is watching everything.
Numberless bulbs come down from the ceil?ing. The stage is filled with lights from the fiercely flickering bulbs. The costumes worn by the performers turn silver and a futuristic scene begins to unfold. Though we don't know where they are heading or perhaps because they cannot go anywhere, people slowly perform dance steps.
Commentary on Ship In A View
Director Hiroshi Koike has approximated the pace of noh theater in this production. All move?ment is disjointed at first, performers barely acknowledge each other but sing textless sounds, make small gurgles as they jump out of floor rolls, and howl like bagpipes heard on a foggy night across a Scottish lake. Disorienting is perhaps the nearest term for the atmosphere this creates.
I began to see some molecular structure as the mood changed with the lighting, performers changed into costumes made of the same translucent material as the flag, and Mr. Koike used his skills at creating a devastatingly beauti?ful stage set. As rows of lit, turning light bulbs descended to the floor, the stage looked primed for an encounter with space....
--Gilles Kennedy, The Japan Times, 7997
ince its foundation in 1982, the company Pappa Tarahumara has offered unique performances under the direction of Hiroshi Koike. Their work is characterized by its Asian sense of time and motion. Performers, stage objects, music, lighting, and costumes all play equally important roles in their productions. It is when all these elements become one that the spectacle starts generating its own poetry.
Pappa Tarahumara productions try to liberate themselves from meaning, leaving audience members free to control their own imaginations. At present, in order to achieve a universality that transcends national borders, Pappa Tarahumara hopes for an interchange of ideas among artists from all over the world.
Tonight's performance marks Pappa Tarahumara's UMS debut.
iroshi Koike studied sociology at Hitot-subashi University. After working as a TV director, he established Pappa Tarahu?mara in 1982. Since then, he has written and directed numerous pieces. Since 1996, he has explored many collaborative works with various artists from all over the world. Mr. Koike has been a director of Koike Hiroshi Performing Arts Institute since 1995, chairman of The Asian Per?forming Artists Forum in Okinawa, and, since 1997, Director of the Tsukuba Cultural Founda?tion.
Mariko Ogawa graduated from the Law Department of Hitotsubashi University. She founded Pappa Tarahumara with Hiroshi Koike when she was a student. She has a rich voice and an overwhelming presence, and has partici?pated in every production of Pappa Tarahumara as a primary performer. She still takes part in many overseas tours, domestic tours, and in col?laborations with Pappa Tarahumara. Outside Pappa Tarahumara, Ms. Ogawa has appeared in various projects both in Japan and abroad including The Ghost is Here directed by Kazumi Kushida (New National Theatre, Tokyo), A Flock of written by Tatsuo Kaneshita, and Walking with Wings directed by Edwin Lung (Hong Kong Arts Festival).
Makoto Matsushima graduated from the Arts Department of Nippon University. In addition to participating as a lead performer in every pro?duction of Pappa Tarahumara, Mr. Matsushima works as a performance artist in Japan and over?seas. His other activities in Japan include his solo piece Red Soil--Plastic, producing Kyoku with a group of artists directing; and appearing in the 20th-anniversary performance of Hara Art Museum called Debris of Heaven. Outside of Japan he has participated in many produc?tions while staying in Hong Kong for a few months every year, including choreographing and appearing in RAVE starring Kelly Chan, and
2001: A Hong Kong Odyssey. In summer 2000, he stayed in Germany by himself for six weeks to take part in the Festival of Vision. He has been expanding his sphere of activities in Europe since then.
Sachiko Shirai is a graduate of Nippon Women's College of Sports Science and majored in dance. Ms. Shirai took part in Pappa Tarahu-mara's production in 1989, and since has appeared in almost all of the company's works. In addition to working as assistant choreogra?pher to Hiroshi Koike and giving technical instructions to the company, she started pre?senting her own works in 1994. She dances as a member of the all-female dance company NEWS.
While studying drama at Tama Art University, Makie Sekiguchi entered the Performing Arts Institute led by Hiroshi Koike and soon later joined Pappa Tarahumara. She started perform?ing as a Hawaiian singer in 1999 and has per?formed in a number of events. In autumn 2001, she formed a company with Tomoko Kondo and produced a solo performance under the title Monthly Makie Sekiguchi.
Masaki Nakamura is a graduate of Nippon Women's College of Sports Science. She started learning modern ballet when she was a child and studied under Kahoru Iku. She joined Pappa Tarahumara in 1997 and in the same year, start?ed creating original pieces. Ms. Nakamura is actively engaged in creating solo dance pieces and collaborations with artists from other fields (musicians, object creators, and sculptors). She also participates in regular performances given by NEWS, a dance unit made up of female per?formers of Pappa Tarahumara.
Takuya Ikeno studied sociology at Hitotsub-ashi University. He began his involvement in dancing while at the university, and entered P.A.I, in 2000. He joined Pappa Tarahumara in 2002.
Aiko Sugiyama graduated from Kanto Interna?tional Senior High School, then entered P.A.I. She is now a junior member of Pappa Tarahu-mara.
Rie Kikuchi graduated from Wako University, in the Department of Humanities. She started dance and theater training while at the universi?ty. She established a group called "E-project" in 1998, and has created five pieces. After two years of training in P.A.I., she joined Pappa Tarahumara in 2003 and soon thereafter started her own solo project.
Asuka Sakata arrived in Tokyo when she was 19-years-old, entered Nippon Women's College of Sports Science, and joined the Modern Dance club. She entered P.A.I, and studied there for three years, later joining Pappa Tarahumara in 2003.
Yuka Narasaki graduated from Meiji University, in the Theatre Studies track. After her university studies, Ms. Narasaki moved to England for dance training at the London Contemporary Dance School and became certified in a year. She began to work for Pappa Tarahumara in 2000. She also annually works for the Tokyo Performing Art Market.

Download PDF