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UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --

UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image UMS Concert Program, Thursday Feb. 01 To 06: University Musical Society: Winter 2007 - Thursday Feb. 01 To 06 --  image
Day
1
Month
February
Year
2007
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Rights Held By
University Musical Society
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Season: Winter 2007
Hill Auditorium

Winter 2007 Season
128th 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. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All chil?dren 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 auditorium. Please use discre?tion in choosing to bring a child.
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Event Program Book
Thursday, February 1 through Tuesday, February 6, 2007
Big 3 Palladium Orchestra
Thursday, February 1, 8:00 pm Hill Auditorium
Joshua Bell and Jeremy Denk 9
Saturday, February 3, 8:00 pm Hill Auditorium
Hubbard Street Dance Chicago 17
Tuesday, February 6, 8:00 pm Power Center
Dear UMS Friends,
One of the best things about working in the UMS Ticket Office is the ability to meet and speak with so many of the patrons who purchase tickets to our events. I love hearing what you think about the per?formances UMS is bringing to Ann Arbor! People often don't realize what a profound impact audience comments have on the way that we do our work--from seeking out new talent to developing new programs that meet your needs. It's often a spark that is ignited from a single patron comment that leads to new, innovative ideas in upcoming seasons.
Earlier this year, UMS introduced a new way of receiving your feedback. The new "Be a Critic" feature on the UMS website is a great way for you to share with us what you think about the performances and performers we present and about UMS in general. It simultaneously opens up the doors for a broader dialogue about the performing arts.
Tell us what you think!
We invite you to share your experiences with UMS staff and other par?ticipating audience members utilizing the new "Be a Critic", feature. We welcome both positive and negative comments--and we want you to share your honest opinions and feelings.
Log on to www.ums.orgBeACritic. Categories exist for comments about individual performances, but also for general UMS comments. The following discussion topics can already be discovered online:
What did you think of tonight's performance and how does it compare to past UMS experiences
What was the best or most memorable performance you experienced with UMS
What would make the subscription process easier or more user friendly for you
What artists do you want to see presented by UMS
We love the arts, we love bringing the arts to you, and we love to hear what you have to say.
I look forward to hearing from you!
Nicole Paoletti
UMS Ticket Services Manager
ums University Musical Society
UMS
and
Pfizer Global Research
and Development
present
Big 3 Palladium Orchestra
Mario Grillo (Machito, Jr.), TimbalesLeader
Tito Rodriguez, Jr., TimbalesLeader
Jose Madera, Jr., TimbalesLeader
Gerardo Madera, Bass
Gilberto Colon, Jr., Piano
Eddie Montalvo, Conga
Louis Bauzo, Bongo
Larry Moses, Trumpet
John Carlson, Trumpet
Guido Gonzalez, Trumpet
Hector Colon, Trumpet
Al Acosta, Alto saxophone
Charles Lagond, Tenor saxophone
Carmen Laboy, Baritone saxophone
Mark Friedman, Alto saxophone
Sammy Gonzalez, Vocals
Herman Olivera, Vocals
Program
Thursday Evening, February 1, 2007 at 8:00 Hill Auditorium Ann Arbor
Mambo! A Tribute to Machito, Tito Puente, and Tito Rodriguez
Tonight's program will be announced by the artists from the stage.
46th Performance of the 128th Annual Season
16th Annual Jazz Series
The photographing or sound and video record?ing of this concert or possession of any device for such recording is prohibited.
Tonight'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.
Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art.
Educational programs funded in part by the Whitney Fund at the Community Foundation for Southeastern Michigan.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Michigan Radio.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
The Big 3 Palladium Orchestra appears by arrangement with IMG Artists, LLC.
Large print programs are available upon request.
In the 1950s America fell in love with the Mambo. "The Home of Mambo" was the Palladium Ballroom at 53rd Street and Broadway. Re-named "The Palladium" from Alma Dance Studio in 1946, six local bands were booked with Machito, the headliner. This config?uration continued playing to huge audiences of all colors and creeds until 1948 when Tito Puente appeared as a bandleader for the first time. Later, singer Tito Rodriguez and his band became a major crowd-puller and competed with Machito and Puente as the star act; thus naming them "The Big 3." The Palladium was the absolute heart of Mambo and Latin music until it closed in 1966.
Big 3 Palladium Orchestra
The Big 3 Palladium Orchestra is the
brain-child of Machito's son Mario Grille After a discussion with Ina Dittke (BPR) and Jyrki Kangas (Pori Jazz Festival) in New York, the Puente and Rodriguez families were approached to represent the music of the Palladium era. Margaret Puente and Tito Rodriguez, Junior were delighted to offer their original charts for use, along with the Machito scores.
Joe Madera began writing augmented charts to enable the larger ensemble to perform these pieces, pieces which now are considered signatures of American music history. Grillo, Rodriguez, Madera, and Brian Theobald spoke about the format and personnel to be used. Soon the 23-piece orchestra began to take shape. Using members of the Tito Puente, Tito Rodriguez, and Machito bands (some of whom played with the masters) a line-up consisting of
three vocalists (one from each band), four trum?pets, five saxophones, three trombones, piano, bass, congas, bongos, and timbale was formed to accompany the leaders: Grillo for the Machito segment, Tito Rodriguez, Junior for Rodriguez, and Joe Madera to front Tito Puente's portion.
A 2002 tour included concerts at The Belleayre Jazz Festival, upstate New York; The Kimmel Center, Philadelphia; Concord Jazz Festival, San Francisco; The Hollywood Bowl, Los Angeles; Ravinia Jazz Festival; Tanglewood; and at the Pori Jazz Festival.
The New York Times proclaimed The Big 3 Palladium Orchestra as "America's first Latin Repertory Orchestra." Praise indeed.
Tonight's concert marks the Big 3 Palladium Orchestra's UMS debut.
ums University Musical Society
UMS
and
Dennis and Ellie Serras
present
Joshua Bell
Violin
and
Jeremy Denk
Piano
Program
Robert Schumann
Ludwig van Beethoven
Saturday Evening, February 3, 2007 at 8:00 Hill Auditorium Ann Arbor
Sonata No. 1 for Violin and Piano in a minor. Op. 105
Mit leidenschaftlichem Ausdruck
Allegretto
Lebhaft
Sonata No. 10 for Violin and Piano in G Major, Op. 96
Allegro moderato Adagio espressivo Scherzo: Allegro Poco allegretto
INTERMISSION
John Cohgliano
Sonata for Violin and Piano
Allegro
Andantino (with simplicity)
Lento (quasi recitativo)
Allegro
Selections from Voice of the Violin
47th Performance of the 128th Annual Season
128th Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Tonight's performance is supported by Dennis and Ellie Serras.
Special thanks to Alan Aldworth and ProQuest Company for their support of the UMS Classical Kids Club.
Tonight's Prelude Dinner is sponsored by TIAA-CREF.
Special thanks to Yehonatan Berick, Associate Professor of Music (Violin), U-M School of Music, Theatre & Dance, for speaking at tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric newspapers, and WRCJ 90.9 FM.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Mr. Bell records exclusively for Sony Classical--a MASTERWORKS Label.
Mr. Bell appears by arrangement with IMG Artists, LLC.
Mr. Denk appears by exclusive arrangement with ICM Artists.
For further information, please visit www.joshuabell.com
Mr. Bell will autograph programs and recordings in the lobby following tonight's recital.
Large print programs are available upon request.
Sonata No. 1 for Violin and Piano in a minor.
Op. 105(1850) Robert Schumann
Born June 8, 1810 in Zwickau, Saxony Died July 29, 1856 in Endenich, near Bonn,
Germany
In 1850, Schumann made a major move, relocat?ing from Dresden in Saxony to Dusseldorf in the Rhineland, several hundred miles to the west. He assumed the post of municipal directory for the city, which resulted in many new responsibilities, yet his productivity showed no signs of slowing down. He wrote three violin sonatas--a genre new to him--in Dusseldorf.
The first of the three, in a minor, begins with a passionate melody whose dark coloring is emphasized by the use of the lowest string (G) on the violin. There is no lyrical second theme to con?trast with this tempestuous opening; the entire movement harks back to Schumann's early Romantic days, revisited here from the standpoint of the mature artist. The second movement is in the simple, folk-like vein that is more typical of late Schumann. Two brief middle sections--one in the minor mode, the other in the major, and slightly more animated in tempo--provide textur-al and thematic diversity before the simple first idea returns for the final time. The last movement opens as an (almost) perpetual motion and is playful in tone despite the continued presence of the dramatic minor mode. This time Schumann does not forgo a singing lyrical episode as he did in the first movement, yet darkness intrudes once more when the passionate theme of the first movement makes a surprising reappearance. This kind of thematic connection among movements, which became almost de rigueur in many instru?mental works of the late-19th century, is still a relatively new device here. It makes a highly dramatic impact just before the ending, which is lively and spirited, though "salvation" in the form of a last-minute switch to the major is still denied.
Sonata No. 10 for Violin and Piano in
G Major, Op. 96(1812) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
The last of Beethoven's 10 violin sonatas is also the last work the composer completed before falling silent for four years. It is, in more ways than one, a valedictory piece, where Beethoven bid farewell not only to the genre of the violin sonata but to his so-called "middle period" as well. The descending motif associated with Lebewohl (farewell), featured prominently in the Piano Sonata in E-flat Major, Op. 81a ("Les Adieux") is quoted literally, in the same key no less, in the second movement of Op. 96.
In general, E-flat Major assumes the role of an important secondary key in this G-Major sonata. The two keys are not very closely related and therefore the transition from one to the other is always noticeable as a certain "darkening" of the sound. The second-movement adagio and the central Trio section of the third movement are entirely in this key, which is also frequently hinted at in the outer movements.
As the famous violinist Joseph Szigeti noted in his book on The Ten Beethoven Sonatas, "The last sonata Op. 96 is the only one of the ten that states its theme unaccompanied, unharmo-nized...giving the bare essence only of the germi?nal idea." In his 2003 book Late Beethoven, Maynard Solomon specifies that this four-note theme is in fact a bird song, the melody of the skylark to be exact. The theme conveys associa?tions with nature and the pastoral genre, but the mood is nostalgic, as though the idyllic world of the pastorale vanished before our very eyes. There are moments when, as Szigeti observed, "the motion of the.. .voices almost seems suspended in mid-air." One such moment comes shortly before the end of the first movement where the piano is left alone to play some very special harmonies with a truly mystical effect, introducing the final appearance of the four-note theme with which the movement closes.
The second-movement "Adagio espressivo" has the same hymn-like rhythm as the slow move?ment of the "Emperor" Concerto, written three years earlier. Its solemn melody is repeated in its entirety after some intervening ornamental pas?sages, and the movement is connected to the
next one without a break (like in the concerto, although the transition is much simpler in the sonata).
The third-movement "Scherzo" is in the dark key of g minor, and its theme, made up of short, separated notes, is characterized by the off?beat accents Beethoven was so fond of. After the more fluid melody of the E-flat Major Trio section, the "Scherzo" returns with an ending that changes the initial g minor into a brighter, sooth?ing G Major, preparing the way for the finale.
The last movement, marked "Poco allegret?to," is a theme with variations. The main melody is serene and good-humored, although without the exuberance of some other Beethovenian finales; it is marked dolce (gently) throughout. (For one reason why this might be the case, see the last paragraph below.) The variations are extremely diverse and innovative, pointing in the direction of Beethoven's late style. They are seven in number and include, in addition to the tradi?tional strategies of ornamenting and enriching the melody, the opposite procedure, which con?sists in reducing it to simple chords. Of particular beauty is the Adagio variation (No. 5), which includes two short cadenzas for the piano. It is followed by a deceptive return of the melody in its original form--deceptive first because it is not in the home key of G but (once again) in E-flat Major, and second, because it is soon interrupted by the boisterous sixth variation. Variation 7 is a mysterious-sounding contrapuntal piece in g minor. It leads into the "real" return of the origi?nal theme (in the home key, and in a complete form). A coda, with the typical Beethovenian slowdown at the next-to-the-last moment, closes the work.
Op. 96 was written for one of the most famous violinists of Beethoven's time, the French Pierre Rode (1774-1830), who gave the premiere with Beethoven's pupil, the Archduke Rudolph at Prince Lobkowitz's palace on December 29, 1812. It seems that the celebrated virtuoso was not in top form during his tour of Germany and Vienna that winter. At least, the composer Louis Spohr found his playing "cold and full of mannerisms," unlike the Rode he had known earlier. Beethoven himself seems to have been less than satisfied, for, as he wrote to the Archduke, "I did not make great haste in the last movement for the sake of mere punctuality, because I had, in writing it, to consider the playing of Rode. In our finales we
like rushing and resounding passages, but this does not please R and--this hindered me some?what." Beethoven may not have liked to make concessions to performers, yet in this case, the compromise resulted in a movement that, while not entirely typical of him, is beautiful in a very special and unique way.
Sonata for Violin and Piano (1963)
John Corigliano
Born February 16, 1938 in New York
Here is how John Corigliano has told the story of his violin sonata, which effectively launched his spectacular career more than 40 years ago:
My father was the concertmaster of the New York Philharmonic, so when I got out of col?lege, one of the first pieces I wanted to write was a violin sonata. I spent a year-and-a-half working on it, and then I gave it to my father, but my father was very discouraging because he wanted me to go into a 'real' profession. So in his way of discouraging me he said, 'I look at music every day at the Philharmonic,' and he put it in a drawer and closed it without ever looking at it.
I was unhappy, but I wasn't stopped. So what I did was I entered the piece in the Spoleto Festival, a competition in Italy. It won the prize, and it was played there, and my mother came overseas, and it was really great...and my father didn't say a word.
Then the concertmaster of the London Symphony Orchestra in London played it. Still no word from my father.
And then came Boston. In Boston it was played by Roman Totenberg, and [my father's] friends started saying, 'Aren't you going to play your son's piece' So my father took it out of the drawer and he started practicing it. He gave the New York premiere of it, and he played it for the rest of his life, and he encouraged me to be a composer from then on.
It was a tough story, but it was a great one because we were great musical friends for the rest of his life. I loved doing that with him.
Describing the music itself, Mr. Corigliano calls it "an optimistic, ultra-rhythmic, tonal-and-then-some duo for two masterful players," and suggests that "its eclecticism, its rhythmic energy, and its bright character give [it] a very American quality, though that wasn't the goal of writing it." In fact, European models (Hindemith, Stravinsky, Prokofiev) seem just as important in this sonata as Copland and Roy Harris; the two continents meet in a work that bursts with the self-assurance of an exceptionally gifted young man who boldly claims his musical heritage and is ready to use it in his own personal way.
Mr. Corigliano has emphasized how the entire sonata grew out of a single melodic cell. This motif (a simple half-step move down and then up: C-B-C) appears a few seconds into the sonata, and receives a playful and brilliant treat?ment in the course of the brief first movement. In the ensuing "Andantino," the motif is presented in a variety of moods, from gentle and lyrical to passionate and grandiose, whereas in the third movement, the same idea is invested with true Romantic pathos and the rhapsodic freedom of
an instrumental recitative. The violin plays an extended cadenza followed by a subdued coda, to be played, according to the composer's instruc?tions, "in strict time, without emotion." The scin?tillating finale exceeds all the previous movements in virtuosic demands. It follows the traditional outline of an ABA form, with a slower, calmer middle section. The recapitulation includes anoth?er cadenza, for the piano this time, and a posi?tively breathtaking coda.
Program notes by Peter Laki.
As he is in the midst of his 0607 concert season, Grammy Award-winning violinist Joshua Bell explores the world of opera and song in his new Sony Classical recording Voice of the Violin, the follow-up to his best-sell?ing 2003 release Romance of the Violin, which Billboard Magazine named the "2004 Classical Album of the Year" and Mr. Bell the "Classical Artist of the Year."
This season includes con-
certs with the BBC Proms at the Royal Albert Hall in London, as well as appearances with the London, Boston, San Francisco, Pittsburgh, Toronto, Montreal, and Dallas symphonies; the Los Angeles Philharmonic and Israel Philharmonic Orchestras; and a 2007 US and European tour with London's Academy of St. Martin in the Fields. He will pre?miere a work written for him by Edgar Meyer and a US recital program will tour in January and February 2007.
For over two decades, Mr. Bell has been captivating audi?ences worldwide coming to national attention at age 14 with his highly acclaimed orchestral debut with Riccardo Muti and the Philadelphia Orchestra. A Carnegie Hall debut, the prestigious Avery Fisher Career Grant, and a recording contract further con?firmed his unique presence in the music world.
Joshua Bell
Photo. Iimolhy White
At age 18, Mr. Bell signed with London Decca, recording classical violin repertoire. Searching to expand his musical horizons, he joined Sony Classical--a MASTERWORKS label-in 1996, resulting in a diverse collection of albums. Mr. Bell received a Grammy Award and a Mercury Music Prize for the Nicolas Maw Violin Concerto. The Sibelius and Goldmark violin con?certos received the Echo Klassik Award for "Best Concerto Recording." Gershwin Fantasy, Short Trip Home, and West Side Story Suite received Grammy nominations for "Best Classical Crossover Album." He also collaborated with Wynton Marsalis on his spoken-word children's album, Listen to the Storyteller, and Bela Fleck's Perpetual Motion, both of which won Grammy Awards. Mr. Bell recently recorded the Tchaikovsky Violin Concerto with Michael Tilson Thomas conducting the Berlin Philharmonic and has recorded the Mendelssohn and Beethoven violin concertos.
For three years, Joshua Bell was deeply involved in the creation of John Corigliano's Academy Award-winning score for the 1999 film The Red Violin. In 2003, he collaborated with Marin Alsop and the Baltimore Symphony Orchestra on the world premiere of Corigliano's Concerto for Violin and Orchestra ("The Red Violin"), drawn from the film score. Recently Mr. Bell, Maestro Alsop, and the Baltimore Symphony Orchestra recorded this concerto for Sony Classical and the CD, coupled with Mr. Bell's recording of Corigliano's Sonata for Violin and Piano, is scheduled for release in 2007.
Joshua Bell received his first violin at age four and was serious about the instrument by age 12, thanks in large part to the inspiration of renowned violinist and pedagogue Josef Gingold, who had become his beloved teacher and mentor.
In 1989, Mr. Bell received an artist diploma in violin performance from Indiana University. He has been named an "Indiana Living Legend" and received the Indiana Governor's Arts Award. In 2005 he was inducted into the Hollywood Bowl Hall of Fame. He currently serves on the artist committee of the Kennedy Center Honors.
Joshua Bell plays the 1713 Gibson ex Huberman Stradivarius.
p
ianist Jeremy Denk earned early recogni?tion through the prestigious Avery Fisher Career Grant and the Young Concert Artists
International Auditions, launching his career as a recitalist, con?cert soloist, and chamber musician. He played his New York City
recital debut at Alice Tully Hall in April 1997 after winning The Juilliard School's Piano Debut Award, and since then has played fre?quent recitals
in Boston, Chicago, New York, Philadelphia, and Washington. He was invited at short notice to replace Emmanuel Ax for two performances at Lincoln Center's Mostly Mozart Festival, earning acclaim in both the New York Times and the New Yorker. He has also been artist-in-residence on NPR's Performance Today.
One of his continuing artistic collaborations is with violinist Joshua Bell: they have toured extensively, performing together at Carnegie Hall, Philadelphia's Kimmel Center, the Library of Congress, London's Wigmore Hall, and the Verbier Festival. A Philadelphia reviewer noted their "equal partnership, with no upstaging."
Playing concertos from his extensive reper?toire, Mr. Denk has appeared with leading orches?tras at home and abroad, including the Philadelphia Orchestra, the Atlanta Symphony, Dallas Symphony, and the Philharmonia of London, and gives debut performances with the St. Louis, Houston, and San Francisco Symphonies this season, as well as with the Orpheus Chamber Orchestra, with which he also makes his Carnegie Hall concerto debut. A New York Times review of his account of Bela Bart6k's Second Piano Concerto reads in part: "Hearing Mr. Denk's brac?ing, effortlessly virtuosic and utterly joyous per?formance, one would never guess how phenom?enally difficult the piano part is."
Jeremy Denk
The pianist reports on some of his touring, practicing, and otherwise unrelated experiences in a web log called "Think Denk" (www.jeremy-denk.blogspot.com). Many arts blogs link to his, and it is listed on Top Ten Sources for Classical Music. Alex Ross, the classical music critic of The New Yorker, commented: "Who needs music crit?ics when you have performers who can write like that"
Mr. Denk enjoys effecting his inventive pro?gramming ideas. To celebrate the Charles Ives centennial, he paired Ives's "Concord" Sonata with a motley assortment--from Beethoven's final sonata to Bach chorales, American rags, and Stephen Foster ballads. In a representative recent season, Mr. Denk concentrated on some icons of the standard repertoire: a survey of the Bach Partitas, some all-Beethoven programs, a couple of Mozart concertos, and much of Schubert's chamber music in festival performances. But his repertoire ranges from these composers to Olivier Messiaen, Gyorgy Ligeti, and Witold Lutoslawski, and he has participated in many world premieres of works by such composers as Ned Rorem, Leon Kirchner, Jake Heggie, Kevin Puts, Mark O'Connor, and Libby Larsen.
With an enthusiastic commitment to cham?ber music, Jeremy Denk has collaborated with several leading string quartets, among them the Borromeo, Brentano, Colorado, Shanghai, and Vermeer, and has appeared regularly at presti?gious chamber music festivals in Santa Fe, Spoleto, and Seattle. He has spent many summers at the Marlboro Music School and Festival and has participated in national tours with Musicians from Marlboro.
Mr. Denk is a member of the faculty of the Bard College Conservatory of Music in Annandale-on-Hudson, New York. He received both a BA in chemistry from Oberlin College and a BM degree from the Oberlin Conservatory, where he studied with Joseph Schwartz. He earned a master's degree in music from Indiana University as a pupil of Gyorgy Sebdk, and a doc?torate in piano performance from The Juilliard School, where he worked with Herbert Stessin. He enjoys cooking, reading, coffee-making, and many other non-music activities, despite their power to delay practicing.
UMS ARCHIVES
Tonight's recital marks Joshua Bell's fifth appearance under UMS aus?pices. Mr. Bell made his UMS debut in October 1989 as soloist with the Atlanta Symphony Orchestra in perform?ance of the Sibelius d-minor Violin Concerto.
Tonight's recital marks Jeremy Denk's UMS debut.
ums University Musical Society
UMS
with
Bank of Ann Arbor
and
Pfizer Global Research
and Development
present
Hubbard Street Dance Chicago
Artistic Director
Jim Vincent
Executive Director
Gail Kalver
Founder
Lou Conte
Company
Shannon Alvis Alejandro Cerrudo Prince Credell Tobin Del Cuore Meredith Dincolo Brian Enos Kellie Epperheimer
Sarah Cullen Fuller Laura Halm Martin Lindinger Cheryl Mann Terence Marling Jamy Meek Pablo Piantino
Yarden Ronen Penny Saunders Larry Trice Jessica Tong Robyn Mineko Williams
indicates HSDC Apprentice
Artistic Associate Lucas Crandall
Program
Choreography by Alejandro Cerrudo
Choreography by Jorma Elo
Tuesday Evening, February 6, 2007, at 8:00 Power Center Ann Arbor
Lickety-Split
PAUSE
From All Sides
INTERMISSION
Choreography by Marguerite Donlon
Choreography by Nacho Duato
Strokes Through The Tail
INTERMISSION
Gnawa
48th Performance of the 128th Annual Season
16th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This performance is sponsored by Bank of Ann Arbor and Pfizer Global Research and Development: Ann Arbor Laboratories.
Special thanks to the Esperance Family Foundation for its support of the 0607 Youth Performance Series.
Wednesday morning's youth performance is funded in part by Target.
Educational programs funded in part by the Whitney Fund at the Community Foundation for Southeastern Michigan.
Funded in part by the Performing Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts with addi?tional contributions from General Mills Foundation, Land o' Lakes Foundation, and Michigan Council for Arts and Cultural Affairs.
Media partnership provided by Metro Times.
Hubbard Street Dance Chicago gratefully acknowledges the generous support of the National Endowment for the Arts, the Illinois Arts Council, and the Chicago Department of Cultural Affairs.
Large print programs are available upon request.
Lickety-Split
Choreography by Alejandro Cerrudo
Costume Design by Alejandro Cerrudo and Rebecca M. Shouse
Lighting Concept by Alejandro Cerrudo
Lighting Design by Ryan J. O'Gara
Music by Devendra Banhart
Lickety-Split is sponsored by John and Caroline Ballantine and Joel and Katie Cory.
Created for and premiered by Hubbard Street Dance Chicago in September 2006 at the Harris Theater for Music and Dance, Chicago, IL. Music by Devendra Banhart: From the disc Rejoicing in the Hands, "a sight to behold," "this beard is for siobhan," "tit smoking in the temple of artesan mimicry," and "rejoicing in the hands"; O2004 Young God Records. From the disc Cripple Crow, "Korean Dogwood"; O2005 XL Recordings. From the disc Heard Someone Say, "Lickety Split"; O2005 XL Recordings.
From All Sides
Choreography by Jorma Elo Costume Design by Nete Joseph Music by Mark-Anthony Turnage Lighting Design by Ryan J. O'Gara Choreographer's Assistant, Nancy Euverink
From All Sides was created with funds from the Prince Prize for Commissioning Original Work, awarded to Jorma Elo and Hubbard Street Dance Chicago in 2006.
Created for and premiered by Hubbard Street Dance Chicago with the Chicago Symphony Orchestra at Symphony Center, Chicago, IL, January 25, 2007. Music by Mark-Anthony Turnage: "From all sides."
Strokes Through The Tail
Choreography by Marguerite Donlon Costume Design by Branimira Lighting Design by Ryan J. O'Gara Music by Wolfgang Amadeus Mozart
Strokes Through The Tail has been generously underwritten by John and Caroline Batlantine, Meg and Tim Callahan, Joel and Katie Cory, Sidney and Sondra Berman Epstein, and Jim and Kay Mabie.
Created for and premiered by Hubbard Street Dance Chicago with the Chicago Symphony Orchestra at the Symphony Center, Chicago, IL in December 2005. Symphony No. 40 in g minor, K. 550, "Movements 2-4," by Wolfgang Amadeus Mozart, Berlin Philharmonic Orchestra conducted by Herbert von Karajan, Deutsche Grammophon, Gmbtt, Hamburg, 1978. A Universal Music Company.
Choreography by Nacho Duato
Music by Hassan Hakmoun, Adam Rudolph, Juan Arteche, Xavier Paxadino, Abou-Khalil,
Velez, Kusur, and Sarkissian Costume Design by Modesto Lomba Lighting Design by Nicholas Fischtel Set Design by Nacho Duato Organization by Mediaart Producciones SL (Spain)
Karen and Peter Lennon are the Exclusive Underwriters of Gnawa.
Created for and premiered by Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance in March 30, 2005. "Ma 'Bud Allah" written by Hassan Hakmoun and Adam Rudolph; from the disc Hassan Hakmoun & Adam Rudolph: Gift of the Gnawa; liscensed by Flying Fish. "Carauri" written by Juan Arteche; from the disc Finis Africae; published by Ediciones Cubicas (Spain). "Window" written by Abou-Khalil, Velez. Kusur, and Sarkissian; from the disc Nafas; published by ECM Records Verlag Musik GmbH (Germany).
ONacho Duato, all rights reserved
Hubbard Street Dance Chicago (HSDC) was founded in 1977 by dancer and cho?reographer Lou Conte, who served as Artistic Director until his retirement from HSDC in 2000. Originally the company's sole choreogra?pher, he developed relationships with emerging and world-renowned choreographers as the com?pany began to grow, adding bodies of work by a variety of artists. In the 1980s, Conte commis?sioned several works by Lynne Taylor-Corbett, Margo Sappington, and Daniel Ezralow. He con?tinued to build HSDC's repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring six of her works and commissioning an original work for the company. Mr. Conte further expanded the company's repertoire to include European choreographers Jiri KyliSn and Nacho Duato. These long-term relationships, along with Mr. Conte's participation in selecting Jim Vincent as the company's new Artistic Director, have paved the way for HSDC's future. Through a rela?tionship cultivated by both Mr. Conte and Mr. Vincent, HSDC further expanded its repertoire with the works of Israeli choreographer Ohad Naharin, including Tabula Rasa, Minus 16, Passomezzo, Queens, and Black Milk.
Today, under the dynamic leadership of Artistic Director Jim Vincent, HSDC is among the most original forces in contemporary dance. Critically acclaimed for its exuberant, athletic and innovative repertoire, HSDC presents perform?ances that inspire, challenge and engage audi?ences worldwide. The company's dancers display unparalleled versatility and virtuosity, allowing HSDC to continually expand its eclectic repertoire and serve as a living archive for significant chore?ographic works by world-class choreographers and a platform for new dance works by emerging choreographers. HSDC also contributes to dance's evolution by developing new choreographic tal?ent and collaborating with artists in music, visual arts and theatre.
HSDC performs in downtown Chicago and its metropolitan area and tours nationally and internationally throughout the year. The company has appeared in 44 states and 19 countries at cel?ebrated dance venues including the American Dance Festival, DanceAspen, the Holland Dance Festival, Jacob's Pillow Dance Festival, The Joyce Theater, the Kennedy Center, Philadelphia's "Dance Celebration," the Ravinia Festival, Spoleto Festival of Two Worlds (Italy), Spoleto Festival
U.S.A. (Charleston, SC), Sadlers Wells Theatre, The Brighton Festival, and Wolf Trap. In January 2004, HSDC joined forces with the Chicago Symphony Orchestra for an engagement con?ducted by Pinchas Zukerman that brought one of Mr. Vincent's goals to fruition by performing his piece, counterpart, to live music. Since then, HSDC has rejoined Pinchas Zukerman for an engagement with the National Arts Centre Orchestra in Ottawa and a return performance with the CSO for the world premiere of SFLB. In December of 2005, HSDC once again joined Mr. Zukerman and the CSO for a celebration of dance and music in honor of Mozart. In July 2006, HSDC joined Sir Andrew Davies for an appearance with the Los Angeles Philharmonic at the Hollywood Bowl and in January 2007, HSDC will once again join the CSO for the premiere of a new work by Jorma Elo set to an original score by Mark Anthony Turnage.
Hubbard Street 2 (HS2) is a company of dancers between the ages of 17 and 25 who perform a repertoire of works by some of the nation's most promising choreographers. HS2 reaches more than 35,000 people annually through perform?ances in schools, community centers, and the?aters. Since its inception in 1997, the company has become a respected training ground for young, professional dancers and choreographers; a major component of HSDC's Education & Community Programs; a resource for new dancers for HSDC's main company and a company per?forming a diverse and engaging repertory both nationally and internationally. As a part of its mis?sion to identify and nurture young choreogra?phers, HS2 initiated a National Choreographic Competition in the summer of 1999. Each sum?mer, the competition provides winners with one-week residencies to create an original work on the company. Over 20 works have been created for this initiative.
As bold in the classroom as on the stage, HSDC's Education & Community Programs offer a broad range of opportunities that enrich the learning process while fulfilling HSDC's mission as a leading dance educator. HSDC seeks to change the lives of students through dance by providing teacher education, residencies, curriculum devel?opment, experiential activities and exposure to professional dance. Each year, more than 25 schools partner with HSDC in our education ini?tiatives: MIND (Moving In New Directions), a K-8 residency program; The Focus Schools Initiative, a pilot program and partnership with the Chicago Public Schools Bureau of Cultural Arts and the John F. Kennedy Center's Partners in Education Program; professional development workshops for teachers; and providing a variety of dance classes throughout the city through our after-school dance program and partnership with D.A.R.E.O Dance. Each year HSDC's Education & Community Programs also offer student scholar?ships and educator discounts for classes at the Lou Conte Dance Studio.
The Lou Conte Dance Studio (LCDS), estab?lished by Lou Conte in 1974, offers classes to adults and teens in ballet, jazz, modern, tap, African, and hip-hop. Named "Best Dance Class for Adults" by Chicago magazine, the studio offers a wide variety of levels from beginner to professional, as well as workshops to enhance the learning experience. As part of its commitment to providing quality training, LCDS offers a scholar?ship program that is a definitive step into the pro?fessional dance world for advanced dancers. The facility houses five dance studios equipped with state-of-the-art floors and audio systems, includ?ing two stage-sized spaces. With a faculty of experienced performers, choreographers, and musicians from the Chicago community and an exceptional facility, LCDS continues to be one of the best training centers in the country.
In 1977, Hubbard Street Dance Chicago was launched to fill a community need. Today it stands as one of the most renowned dance institutions in America, reaching out to more than 150,000 peo?ple each year through dance creation, perform?ance, training and community education. HSDC continues to serve as an emblem of Chicago's international cultural profile and a model of excel?lence in dance.
Jim Vincent (Artistic Director) joined HSDC in August 2000 following an extensive career as a dancer, teacher, ballet master, and choreog?rapher. Mr. Vincent's dance training began at the age of five and continued through his childhood with Mercer, Burlington, and Princeton Ballets in New Jersey. He studied on scholarship at the Washington School of Ballet in Washington DC, Harkness House of Ballet in New York City, and North Carolina School of the Arts at the University of North Carolina. Mr. Vincent's distinguished career as a professional dancer includes a 12-year tenure with Jiri Kylian's Nederlands Dans Theater, a guest appearance with Lar Lubovitch, and two years with Nacho Duato's Compania Nacional de Danza in Spain. As a dancer, he has worked with many choreographers, including Kylin, Duato, Lubovitch, William Forsythe, Mats Ek, Hans van Manen, Christopher Bruce, and Ohad Naharin. Mr. Vincent served as Ballet Master for Nederlands Dans Theater II and Opera National de Lyon and was also the Assistant Artistic Director for Compania Nacional de Danza, where he rehearsed repertory by renowned choreographers including Kylin, Duato, Forsythe, Ek, George Balanchine, Angelin Prejlocaj and Bill T. Jones. Mr. Vincent has choreographed a number of works for Nederlands Dans Theater I and II, Quebec's Bande a Part and Switzerland's Stadt Theater Bern. In 2002, during his second season with HSDC, he choreographed counterpart for the company, his first work as Artistic Director, which he has dedicated to the HSDC Board of Directors. In 2005, Mr. Vincent premiered his newest work Uniformity at the Joyce Theater in New York.
Gail Kalver (Executive Director), a native Chicagoan, joined HSDC in 1984. She received a degree in music education from the University of Illinois (ChampaignUrbana) and a master's degree in clarinet from the Chicago Musical College of Roosevelt University. Ms. Kalver found?ed the Windy City Wind Ensemble and also per?formed with the Chicago Symphony Orchestra, Lyric Opera Orchestra, and Grant Park Symphony. She joined the Ravinia Festival staff in 1976, where she became associate manager before join?ing HSDC. Kalver was also music consultant to the Peabody Award-winning National Radio Theatre. She has served on the boards of the Chicago Dance Coalition, DanceUSA and the National Association of Performing Arts Managers and Agents and on numerous funding panels. She currently serves on the boards of Dancers United and the Arts & Business Council of Chicago; on the advisory councils of Dancers Responding to AIDS and Child's Play Touring Theatre; and on the Excellence in Dance Initiative Advisory Committee of the Chicago Community Trust. Ms. Kalver is the recipient of the Chicago Dance Coalition's 1988 Ruth Page Award, was recognized by Today's Chicago Woman in 1996 and has co-chaired Dance for Life and the Midwest Arts Conference. In 2003, Ms. Kalver was the recipient of the Arts & Business Council of Chicago's ABBY Award for Arts Management Excellence.
Lou Conte (HSDC Founder; Director, Lou Conte Dance Studio), after a performing career including Broadway musicals such as the original produc?tion of Bob Fosse's How to Succeed in Business Without Really Trying, Cabaret, and Mame, estab?lished the Lou Conte Dance Studio in Chicago in 1974. In 1977, he founded what is now Hubbard Street Dance Chicago with four dancers perform?ing at senior citizens' homes in Chicago. In 2000, he retired as Artistic Director of HSDC but remains the Director of the Lou Conte Dance Studio. Throughout his 23 years as the company's Artistic Director, Mr. Conte received numerous awards, including the Chicago Dance Coalition's inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and the Chicagoan of the Year award from Chicago magazine in 1999. In 2002, he was elect?ed a Laureate for Lincoln Academy, the state's highest award for individual achievement. He has been credited by many for helping raise Chicago's international cultural profile and for creating a cli-
mate for dance in the city, where the art form now thrives.
Lucas Crandall (Artistic Associate) was born in Madison, Wisconsin and started studying dance at the age of 14. After receiving several scholar?ships in the US and an apprenticeship with the Milwaukee Ballet, Crandall went to Europe to perform with the Ballet du Grand Theatre in Geneva, Switzerland. In 1985, he joined Nederlands Dans Theater where he first worked with Jim Vincent, HSDC's current Artistic Director. In 1987, Mr. Crandall returned to the Ballet du Grand Theatre, working with many choreogra?phers including Ohad Naharin, Jiri Kylin, Mats Ek, and Christopher Bruce. In 1996, he became the Ballet du Grand Theatre's rehearsal director, assisting and rehearsing numerous works. Since he arrived at HSDC in August 2000, he has con?tinued to assist choreographers, notably Marguerite Donlon. He has also been on faculty with the Lou Conte Dance Studio, as well as bal?let and repertory instructor for masterclasses throughout the US, including residencies at the University of California in Santa Barbara; the University of Iowa in Iowa City, where he created Pulse for the Dance Department's annual Gala; and the University of Illinois at BloomingtonNormal, where he created Bittersweet. A choreographer since 1982, Mr. Crandall has created pieces that have been per?formed in a variety of countries. His first produc?tion for HSDC, Atelier, premiered in March 2003. In March 2005, his work Gimme received its HSDC Chicago Premiere at the Harris Theater for Music and Dance. In July 2005, Crandall partici?pated in the Northwest Professional Dance Project with Sarah Slipper and Steve Gonzales.
Artistic Staff
Lucas Crandall, Artistic Associate
Production Staff
Daniel Feith, Production Manager Kilroy G. Kundalini, Audio Engineer Rebecca M. Shouse, Wardrobe Supervisor Scott Kepley, Lighting Supervisor Anne Grove, Company Manager Aprill C. Clements, Stage Manager
Properties Master Claire Bataille, Greg Begley, Julie Nakagawa
Bottcher, Company Teachers

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