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UMS Concert Program, Friday Mar. 23 To Apr. 12: University Musical Society: Winter 2007 - Friday Mar. 23 To Apr. 12 --

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Day
23
Month
March
Year
2007
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Rights Held By
University Musical Society
OCR Text

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.
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
Friday, March 23 through Thursday, April 12, 2007
Rahim AlHaj and Souhail Kaspar
Friday, March 23, 8:00 pm Rackham Auditorium
Canadian Brass
Saturday, March 24, 8:00 pm Hill Auditorium
Pablo Ziegler Quintet for New Tango 13
Friday, March 30, 8:00 pm Rackham Auditorium
David Krakauer's Klezmer Madness! 17
Saturday, March 31, 8:00 pm Rackham Auditorium
Measha Brueggergosman 25
Thursday, April 12, 8:00 pm Hill Auditorium
Dear Friends,
W
elcome to this UMS performance. I am pleased you are here. The presentations covered by this program book are some of the liveliest of the season. I know you will have a great time.
Every non-profit organization is made possible through contributed income, volunteer time, and expertise. UMS is honored to have an extensive group of engaged and active volunteers: the Board of Directors, former Board members now in our Senate, and the Advisory Committee. I would like to highlight here the role the Advisory Committee plays within UMS because we simply could not provide our Youth Education Program without them.
The UMS Advisory Committee is made up of 50 dedicated volunteers who work tirelessly to provide volunteer support and raise funds for UMS. Advisory Committee members usher at all Youth Performances throughout the season. They produce two major fundraising events each year, the On the Road Auction in September and the Ford Honors Program in May. Throughout the year they organize and promote Delicious Experiences, the fabulous culinary events designed to bring together friends of UMS.
Susan McClanahan with grandson Charlie (r) and Dan Zanes (I)
The second annual On the Road Auction in September 2006 was a great success and the event has become a much-anticipated addition to the fall season. Many of the auction items were opportunities only UMS could provide, in addition to unique items contributed by generous mem?bers of our community. I had great fun when I purchased the opportunity for my grandson Charlie and his friends to meet Dan Zanes follow?ing his family performance. The date for the 2007 On The Road will be announced soon; our volun?teers are already planning another spectacular evening.
The Advisory Committee recently mailed the invitation to the Ford Honors Gala, a benefit for the UMS Education program. Being held on Saturday, May 12, this year's Ford Honors Gala will honor Mstislav Rostropovich with the UMS Distinguished Artist Award. The tribute and dinner will take place in the auditorium and atrium of the spectacular Biomedical Science Research Building. The evening will include valet parking, a scrump?tious dinner catered by Opus One, an evening of music, and a heartfelt tribute. At this writing, Mr Rostropovich is ill and we are uncertain of his sta?tus at the time of the gala. Therefore, this is an opportunity to honor Mr. Rostropovich--or Slava as he is known to the world--as an international?ly recognized musician and outspoken defender of human rights.
I want to encourage you to attend the Ford Honors Gala, sign up for one of the remaining Delicious Experiences this season, and come to the On The Road Auction in September. Please look at the list of names of the Advisory Committee members on page 14 of the outer sec?tion of this program book. When you have the opportunity, I hope you will thank them for every?thing they do to bring the best arts education to students in southeast Michigan.
If you would like to register for an event, please call Lisa Rozek at 734.764.8489. If you have a comment or question, I hope you will call me at 734.647.1177.1 look forward to seeing you at our volunteer-organized events.
Warm regards,
Susan McClanahan
UMS Director of Development
UMS Educational Events
through Thursday, April 12, 2007
All UMS educational activities are free, open to the public, and in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.647.6712 or e-mail umsed@umich.edu.
Rahim AlHaj and Souhail Kaspar Diwan: A Forum for the Arts (S)
Thursday, March 29 Sunday, April 1 Arab American National Museum (AANM) 13624 Michigan Avenue, Dearborn, Ml 48126
DIWAN: A Forum for the Arts unites Arab-American artists, scholars, and performers from throughout the US, representing myriad academ?ic fields and artistic genres. Activities include pres?entation of new research into Arab-American arts, poetry and prose readings, film screenings, and musical performances. This three-day dia?logue reinforces AANM's commitment to provid?ing a place for community members and artists to meet, exchange ideas, and exhibit their work. It also encourages audiences to explore the bound?aries of art in addressing social and cultural issues related to Arab Americans and to the community at large.
Schedule, cost, and registration information is available at www.arabamericanmuseum.org or at 313.624.2266.
A collaboration with the Arab American National Museum and the Arab American Center for Economic and Social Services.
Pablo Ziegler Quintet for New Tango Milonga! Tango Dance Party (S)
Friday, March 30, post performance
(approx. 10:30 pm)
U-M Alumni Center, 200 Fletcher St.
Be a part of a traditional Tango Dance Party (Milonga) immediately following the performance of the Pablo Zeigler Quintet. Everyone is wel?come. Music provided by Ann Arbor local DJ Avik Basu.
Admission is free for Pablo Ziegler Quintet ticket holders. $5 for everyone else.
A collaboration with the Ann Arbor Tango Club and the Michigan Argentine Tango Club.
ums University Musical Society
presents
Oud and
Rahim AlHaj
Souhail Kaspar
Percussion
Program
Friday Evening, March 23, 2007 at 8:00 Rackham Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain an intermission.
60th Performance of the 128th Annual Season
The photographing or sound and video record?ing of this concert or possession of any device for such recording is prohibited.
Media partnership provided by WEMU 89.1 FM.
Special thanks to the Arab American National Museum and the Arab American Center for Economic and Social Services (ACCESS) for their participation in this residency.
Rahim AlHaj appears by arrangement with Katherine Hughes-Fraitekh.
Large print programs are available upon request.
R
ahim AlHaj was born in Baghdad, Iraq, and began playing the Oud (the grandfa?ther of all stringed instruments) at age nine. He studied under the renowned Munir Bashir (considered by many to be the greatest Oud play?er of all time) and Salim Abdul Kareem at the Institute of Music in Baghdad. Mr. AlHaj won var?ious awards at the Conservatory and graduated in 1990 with a diploma in composition. He also holds a degree in arabic literature from Mustunsaria University in Baghdad. In 1991, after the first gulf war, Mr. AlHaj was forced to leave Iraq due to his political activism against the Saddam Hussein regime and began his life anew in Jordan and Syria. He moved to the US in 2000 as a political refugee and has resided in Albuquerque, New Mexico ever since.
Mr. AlHaj has performed all over the world on tour with Munir Bashir, with his string quartet, and solo, including concerts throughout the Middle East, Europe, and hundreds of concerts in the US. His music delicately combines traditional Iraqi maqams (modes) with contemporary styling and influence. His compositions are about the experience of exile from his homeland and of new beginnings in his adopted country; his songs establish new concepts without altering the foun?dation of the traditional Iraqi School of Oud.
Mr. AlHaj has recorded four CDs since his arrival in the US. His newest CD, When the Soul is Settled: Music of Iraq, with Souhail Kasparon per-
cussion, was released on Smithsonian Folkways Recordings, and recorded at a performance in June 2006 at the Kennedy Center. He plans to release two new CDs in 2007: Home Again, a compilation of touching musical compositions describing his personal odyssey from Baghdad to his newly adopted home, New Mexico; and an exciting new collaboration with master guitarist Ottmar Liebert.
S
ouhail Kaspar is a master percussionist, known worldwide for his brilliant technique, exciting performances, and teaching skills. A true virtuoso, his ability to improvise and embel?lish the rhythmic patterns of Arabic music, as well
Souhail Kaspar
as his knowledge of ethnic musical history, have made him one of the most highly acclaimed per?formerinstructors of our day.
Born in Lebanon and trained at Nadi al-Fonun al-Arabia (Conservatory of Traditional Arabic Music) in Aleppo, Syria, he excelled in both classi?cal and ethnic rhythmic patterns and techniques and received a degree in classical Arabic perform?ance. He has traveled extensively during his 34-year career and has performed with artists such as Sting and Kenny Burrell, and with Arabic super?stars such as Sabah, Feiruz, Cheb Mami, George Wassouf, Ragheb Alama, Kathem al-Saher, and Faiza Ahmed.
Rahim AlHaj
Additionally, he has an impressive body of recorded work, including credits on the sound?tracks for the movies The Prince of Egypt and Sinbad, the documentary The Great Bazaars, and as a guest percussionist with the Kronos Quartet on the CD Caravan. Since the late 1970s, Mr. Kaspar has also appeared with AN Jihad Racy at a wide variety of cultural events and performed in major concert halls, masterclasses, and work?shops throughout the US. He has worked with legendary Egyptian composers Farid el-Atrash, Sayyed Makowi, and Hanni Mehanna. Mr. Kaspar received a Durfee Music Fellowship, given to mas?ter musicians and teachers.
Mr. Kaspar currently lives in Los Angeles and is performing, recording, and teaching both nation?ally and internationally. His most recent recording is the acclaimed Khaliji CD, a collection of popu?lar songs from the Saudi Arabian peninsula.
Tonight's concert marks the UMS debut of both Rahim AlHaj and Souhail Kaspar.
urns
and the University of Michigan Health System
present
Canadian Brass
Charles Daellenbach, Tuba Eugene Watts, Trombone Bernhard Scully, Horn Joe Burgstaller, Trumpet Brandon Ridenour, Trumpet
Program
Johann Sebastian Bach, Arr. Allen
Malcolm Forsythe
Bach, Antonio Vivaldi, Arr. J. Burgstaller
Bach, Arr. C. Dedrick Arr. Henderson
Arr. Dedrick
Samuel Barber, Arr. McNeff
Georges Bizet, Arr Mills
Saturday Evening, March 24, 2007 at 8:00 Hill Auditorium Ann Arbor
Aire pours les trompettes
Golyardes Ground
Concerto in D Major, BWV. 972
Allegro
Largetto
Allegro
Four Pieces from the Notebook for Anna Magdalena Bach Selections from the album High Society
INTERMISSION
Glenn Miller Songbook
String Quartet No. 1, Op. 11 (excerpt) Adagio
Highlights from Carmen
Overture Habanera Interlude Seguidilla Toreadors' Song
61st Performance of the 128th Annual Season
The photographing or sound and video record?ing of this performance or possession of any device for such recording is prohibited.
This performance is sponsored by the University of Michigan Health System.
Additional support is provided by the medical community of southeastern Michigan.
Media partnership provided by WRCJ 90.9 FM and Michigan Radio.
www.canadianbrass.com is the official website of Canadian Brass.
Canadian Brass perform on 24-karat gold plated YAMAHA instruments.
Canadian Brass may be heard on the Opening Day Recordings label.
Canadian Brass appear by exclusive arrangement with ICM Artists, Ltd., New York, NY.
Large print programs are available upon request.
T
he five virtuosi of Canadian Brass have made the brass quintet an exciting vehicle for serious concert music. The quintet-now in its 36th season--consists of Josef Burgstaller, trumpet; Brandon Ridenour, trumpet; and Bernhard Scully, horn; alongside original members Gene Watts, trombone, and Chuck Daellenbach on tuba.
The group has a long history of recording clas?sical repertoire. They have a special affinity for Baroque music, which requires the brilliance and musical structure that has become the Canadian Brass' trademark.
Their more than 60 recordings to date include works by Purcell, Vivaldi, Gabrieli, Pachelbel, Beethoven, and Wagner--all in meticulously crafted transcriptions that are setting new musical traditions in brass performance. They are espe?cially drawn to the works of J.S. Bach.
The Canadian Brass sprang from modest and highly experimental roots in Toronto, Ontario, in 1970. The brass quintet was not established as a serious concert ensemble at that time, and it proved an irresistible challenge to Mr. Watts and Mr. Daellenbach. Their imagination and consum?mate musicianship eventually elevated the art of the brass quintet to what it is today.
Thanks to their pioneer status, the quintet developed a unique character and rapport with audiences that proved so successful that it has been emulated by many other ensembles. Canadian Brass master the gamut of concert pre?sentations--from formal classical concerts to music served up with lively dialogue and theatri?cal effects. No matter what the style, the music is central and performed with utmost dedication and excellence.
The "fabulous five" spend most of their time on tour, and have performed with many major symphony orchestras in the US, Canada, Europe, and Japan. They have gained a large internation?al following for their solo performances that offer a large variety of musical styles.
Having started with the very limited base of traditional works for brass, Canadian Brass set out to create their own musical world by transcribing, arranging, and commissioning more than 200 works; the most recent being the brilliant Quintet by Michael Kamen.
They are not only presenting works in the classical repertoire but continue to take daring
leaps into jazz, contemporary concert music, and popular songs. Most of this music, including the Quintet, is published by Hal Leonard. It is the inspiration and musical staple of students and brass ensembles in North America and Europe.
Millions of television viewers have seen the Canadian Brass in such shows as The Tonight Show, Today, and Entertainment Tonight. They have appeared as guest artists on Evening at Pops with John Williams and the Boston Pops, Beverly Sills' Music Around the World, and numerous PBS specials. The quintet has also created eight videos that have gained an international audience and has just released a DVD that captures the group in performance over three decades entitled Three Nights with Canadian Brass.
All members of the Canadian Brass are keen?ly interested in training the next generation of players. On their travels around the world, per?forming on gold-plated Yamaha instruments, they often pause for masterclasses. They are chamber quintet-in-residence at the Music Academy of the West in Santa Barbara, California and have creat?ed an innovative brass summer course at the Eastman School of Music. They have been invited by the Canadian Government to play for visiting heads of state on numerous official occasions.
With over three decades under their belts, Canadian Brass continues to fill concert halls and thrill audiences around the world, and they don't look like they are letting up anytime soon!
UMS ARCHIVES
Dnight's concert marks the Canadian Brass' 12th appearance under UMS auspices. They received the UMS
Distinguished Artist Award at the 1999
Ford Honors Program.
ums University Musical Society
presents
Pablo Ziegler Quintet for New Tango
with special guest
Claudia Acuna
Vocalist
Pablo Ziegler, Piano Pablo Asian, Bass Hector del Curto, Bandoneon Franco Pinna, Drums Claudio Ragazzi, Guitar
Program
Friday Evening, March 30, 2007 at 8:00 Rackham Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain an intermission.
62nd Performance of the 128th Annual Season
Global Series:
Mexico and the Americas
77ie photographing or sound and video record?ing of this conceit or possession of any device for such recording is prohibited.
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 Metro Times, WEMU 89.1 FM, and WDET 101.9 FM.
Special thanks to the Ann Arbor Tango Club and the Michigan Argentine Tango Club for their participation in this residency.
Pablo Ziegler's Quintet for New Tango is exclusively represented by Bernstein Artists, Inc., www.bernsarts.com
Large print programs are available upon request.
B
orn in Buenos Aires, Argentina, Latin Grammy-winning Pablo Ziegler (Piano) artfully blends classic tango rhythms with jazz improvisations, adding a new voice to the tango lexicon. Howard Reich of The Chicago Times writes, "There's no question that Ziegler takes the tango to levels of sophistication and refinement probably undreamed of by Piazzolla," and Eric Salzman of Sfereo Review, writing of Mr. Ziegler's CD, Tango Romance, affirmed that the CD "solidifies his (Ziegler's) claim to be the out?standing representative of the nusvo tango in his generation."
In 1978, Mr. Ziegler was invited to join Astor Piazzolla's New Tango Quintet, and for over the next 10 years, he performed with this group throughout Europe, Japan, and North America, at festivals including the Montreal Jazz Festival, Nice Jazz Festival, Sapporo Jazz Festival, Central Park SummerStage, and the Istanbul Festival.
Mr. Ziegler formed his own Quartet for New Tango in 1990 and has been touring extensively throughout the world with his trio, quartet, and quintet. Performances in recent seasons have
included Carnegie Hall (as part of the JVC Jazz Festival with guest artists Paquito D'Rivera, Joe Lovano, and Gary Burton), the Savannah Music Festival, Blue Note, UCLA, the University of Texas-Austin, the Clarice Smith Performing Arts Center in Maryland, the Gilmore International Keyboard Festival, the Ravinia Festival, the International Festival of Arts & Ideas with pianist Christopher O'Riley in the duo Los Tangueros, the New World Symphony in Miami, and New York's Knitting Factory with Emanuel Ax. Mr. Ziegler's quintet has also been performing annually at the Jazz Standard in NYC since 2002, with guest artists including Paquito D'Rivera, Stefon Harris, David Sanchez, Randy Brecker, and Kenny Garret. Important international engagements have included the Umbria Jazz Festival (with guest artists Paquito D'Rivera, Joe Lovano, and Richard Galliano), The Lapataia Jazz Festival in Punta del Este (Uruguay), and the Verbier Festival (Switzerland), as well as performances through?out Europe. He also performed at the Piano 2003 Festival in Manchester, UK and has done 15 European tours to date.
Mr. Ziegler's discography
includes Tango Romance: Music of Buenos Aires with the Orpheus Chamber Orchestra (BMGRCA); Los Tangueros: the Tangos of Astor Piazzola played by Ziegler and Emmanuel Ax (with two piano arrangements by Ziegler on SONY); Asfalto: Street Tango (BMGRCA); Pablo Ziegler Quintet for New Tango recorded with guest artist Joe Lovano (BMGRCA); and Bajo Cero with Quique Sinesi and Walter Castro (Zoho Music) which won the Latin Grammy Award for "Best Tango Album" in 2005. Pablo Ziegler also appears as a guest artist on two of Gary Burton's recordings, Piazzola Reunion and Libertango, both on the Concord Jazz label, as well as making an appearance as arranger and accompanist on The Lost Days, a recording with renowned mezzo-soprano Denyce Graves, released in 2003 on BMGRCA. Mr. Ziegler will soon release a new live CD, from a per-
Pablo Ziegler
formance recorded at The Bimhuis in Amsterdam during his recent European tour in April 2006, as well as a Live from the Jazz Standard recording with guest artist Stefon Harris. Mr. Ziegler's com?positions are performed and recorded by many musicians throughout the world.
From Chile, Claudia Acuna (Vocalist) knew early on that she wanted to be a singer but had no idea that she would find her way to jazz, as there were few opportunities for jazz encounters in her home country. She began by singing Chilean folk and pop music and later tried rock, fusion, and opera before coming upon her first musical career model--Frank Sinatra--at age 15. After years of improvising, Ms. Acuna finally felt at home when she heard Sinatra, Erroll Garner, and then Sara Vaughan.
After finishing high school, Ms. Acuna moved to Santiago and headed for the one jazz club in town. She quickly made a name for herself in the small Santiago scene and was featured on the club's live radio broadcast. Musicians told her she was a born jazz singer and she began sitting in with them, including such foreign jazz stars as Wynton Marsalis, Michel Petrucciani, Joe Lovano, and Danilo Perez.
After a few years, Ms. Acuna moved to New York City to fully explore jazz. Not knowing much English, her goals were to learn the language, visit the legendary Village Vanguard, and join in on jam sessions. She did all three and soon became a fixture at Small's, the influential jazz club in the Village. There, she jammed regularly and befriended many musicians including Jason Lindner, now her pianist, collaborator, and friend. But it was her job as a coat check girl at the Blue Note that provided Ms. Acuna with her highest-profile jam opportunity--a chance to sing in front of Betty Carter, one of her idols. Afterward, Ms. Carter came up to her and proclaimed, "Surprise, surprise, the coat check girl can sing."
And after five years in New York, Verve Records signed "the coat check girl" and issued two well-received recordings: Wind from the South and Rhythm of Life. Critics praised the newcomer: "... the voice of an angel." (Newsday). The Los Angeles Times said of Ms. Acuna, "...Although Acuna did not come to the US until she was in her early twenties, she has mastered the essential elements of jazz with star?tling effectiveness... Acuna's voice is an instru-
Claudia Acufia
ment of wonder..."
The jazz community was quick to embrace the naturally gifted singer, and Ms. Acufia received invitations to sing at clubs and festivals around the world. She immediately stood out due to her pure, compelling alto voice and her ability to reinvent jazz standards by changing the phras?ing, updating the arrangements, and fusing Latin rhythms with her instinctive jazz sensibility. In addition, she introduced Spanish language songs to new audiences, making it clear that music crosses all barriers, particularly when performed with her distinctive brand of authentic emotion and passion.
Argentine born producer Pablo Asian (Bass) directs Avantango, a tango-jazz ensemble featur?ing New York-based Argentine musicians and dancers that perform throughout the US. His CD Avantango (Zoho Music) was selected as one of the "Best Albums of the Year, Critics Choice 2004" by JAZZIZ magazine. He recently spent sev?eral months performing and recording in Buenos Aires. His forthcoming CD on Zoho Music, Buenos Aires Tango Standards, is a result of this experi?ence and features a unique blend of tango and jazz in performances of tango standards. In April 2007, Mr. Asian will be a special guest with Lincoln Center's Afro Latin Jazz Orchestra, led by Arturo O'Farrill.
In the 1990s, Mr. Asian was the founder and co-director of New York Buenos Aires Connection and New York Tango Trio with bandoneonist Raul Jaurena, with whom he produced several CDs and toured throughout the world. He has been a fea?tured artist of the Lincoln Center Institute since 1998, bringing tango performances to hundreds of children and educators in the New York area.
Born in Buenos Aires, Argentina, Hector Del Curto (Bandoneon) has traveled the world both as soloist and chamber musician, having shared the stage with Astor Piazzolla, Osvaldo Pugliese, Julio Bocca, Orquesta Sinf6nica de Buenos Aires, and Teatro Colon Ballet. In April 1999 he appeared in Carnegie Hall with the Orpheus Chamber Orchestra, joined by world-renowned artists Gary Burton, Joe Lovano, Pablo Ziegler, and from Buenos Aires, singers Jose Angel Trelles and Maria Grana. The New York Times review includ?ed the following statement: "Hector Del Curto played wistful, piercing solos on the bandoneon." Mr. Del Curto won "Best Bandoneon Player Under 25" when he was only 17. The Italian-American Network awarded him the Golden Note Award in recognition of his artistic achievements in 1999. As a conductor, he directed the show Forever Tango on Broadway as well as numerous other concerts featuring Tango music.
Franco Pinna (Drums) started his musical career in 1988 in his native Tucumn, Argentina, where he performed and recorded with some of the most distinguished folklore musicians: Raul Carnota, Lucho Hoyos, Leopoldo Deza, and Popi Quintero. In January of 1998 Mr. Pinna moved to Boston to enter the Berklee College of Music. There he obtained the "Outstanding Musicianship" scholarship and graduated Magna Cum Laude in 2000 under the Professional Music Diploma program. During his two-year tenure at Berklee, he studied with excellent teachers with an extensive resume in the jazz and world music scenes.
Mr. Pinna is a founding member of the New York-based group Los Changos that performs original music based on Argentinean rhythms. The drummer has dedicated a large part of his life to studying all the different rhythms from South American folklore, creating a unique way of inter?preting them. He incorporates traditional percus?sion instruments within the drum set and has developed his own style based on folkloric per?cussion techniques.
Claudio Ragazzi (Guitar) graduated Magna Cum Laude in jazz composition and arranging from Berklee College of Music in 1984 and was the recipient of a Duke Ellington Master's Award and a Boston Music Award that same year. After grad?uating from Berklee, Mr. Ragazzi recorded the top
30 Jazz CD Amazoni with his instrumental ensem?ble Ananda. For the past 10 years he has been scoring music for film and television, theater, and ballet as well as performing both as sideman and with his own group.
As a world-class guitarist, Mr. Ragazzi has recently performed with jazz legends Gary Burton, Joe Lovano, and Paquito D'Rivera at Carnegie Hall and with world renowned cellist Yo-Yo Ma on the music television series Sessions at Studio 54. Other performances and recordings include those with jazz pianist Danilo Perez, gui?tarist Ralph Towner, and Latin legend Mario Bauza. Mr. Ragazzi was a featured guest soloist with The Hollywood Bowl Orchestra, directed by John Mauceri.
Tonight's performance marks the UMS debut of both the Pablo Ziegler Quintet for New Tango and Claudia Acuna.
ums University Musical Society
presents
David Krakauer s Klezmer Madness!
David Krakauer, Clarinet Sheryl Bailey, Guitar Trevor Dunn, Bass Will Holshouser, Accordion Michael Sarin, Drums
featuring
Socalled, Samples and Keyboard
betcol Program
Saturday Evening, March 31, 2007 at 8:00 Rackham Auditorium Ann Arbor
@@@@Traditional, An. D. Krakauer Der Gasn Nign
Traditional, An. D. Krakauer and Stewart The Russian Shers
Jacob Weinberg, An. D. Krakauer and J. Dolgin Bubbemeises
Will Holshouser, An. W. Holshouser and D. Krakauer The Dusky Bulgar
An. D. Krakauer Ms. N.C.
An. D. Krakauer and J. Dolgin Moskowitz and Loops of it
M. Sarin Waiting for Julian
Traditional Chusen Kale Mazel Tov

Krakauer Love Song for LembergLvov
Traditional, Arr. D. Krakauer and J. Dolgin Turntable Pounding
A. Lebedeff, Arr. D. Krakauer and J. Dolgin Rumania, Rumania
Krakauer Synagogue Wail
Traditional Sirba
J. Dolgin, Krakauer B flat a la Socalled
Please note there will be no intermission in tonight's program.
63rd Performance of the 128th Annual Season
The photographing or sound and video record?ing of this concert or possession of any device for such recording is prohibited.
Media partnership provided by Detroit Jewish News.
David Krakauer's Klezmer Madness! is exclusively represented by Bernstein Artists, Inc., www.bernsarts.com
Large print programs are available upon request.
Reflections on Being a 21st-century Klezmer Musician
F
or those of you who are among the uniniti?ated, klezmer music is the traditional cele?bration music of Eastern European Jewry. This is the music that was played at weddings (and other festive events) for the Jewish commu?nities of Russia, Poland, Byelorussia, Moldavia, Rumania, the Ukraine, the Baltic states, and Hungary, among other countries. Klezmer (which means music in Yiddish) was brought to the US during the great wave of Jewish immigration between 1880 and 1920, and is primarily known to us today through recordings made by these immigrants in New York beginning in the early 1920s. Because the Holocaust was to eradicate most of Eastern European Jewish culture, klezmer music in America exists as a precious and impor?tant vestige of a vanished world.
It is an incredibly interesting time to be play?ing klezmer music--with a rise in Jewish con?sciousness, with Europeans examining an aspect of the soul of their continent that was destroyed during World War II, with the tremendous excite?ment of the "world beat" phenomenon, and sim?ply with the joyous "danceability" of this music. In fact, klezmer music has gone through two revivals since the mid-1970s, and I believe we are now in a tremendously creative post-revival peri?od. While those of us playing klezmer today are still constantly studying old recordings and other source material to retrieve what was almost lost to us, there is, at the same time, a new sense of freedom and playfulness with the music that has given rise to a diverse repertoire, tremendous international participation and a wide variety of approaches. In my own work, as a 21st-century American, I freely incorporate influences of funk, jazz, and most recently through my collaboration with sampling wizard Socalled, hip-hop.
For me personally it is important to do two things in playing klezmer. One is to preserve the Jewishness--the inflection of the Yiddish lan?guage in the music (that I recognized in the speech inflections of my grandmother), the melodic shapes, the ornaments, the phrasing, the traditional repertoire, and the flavor of the cantor. But the second is to keep klezmer out of the museum--to write new klezmer pieces and to improvise on older forms in a way that is informed
by the world around me today. My colleague Alicia Svigals, former violinist of the group The Klezmatics, talks about tradition always being in flux--that there is no such thing as static "tradi?tion." For example, when I write a more extend?ed composition, I try to keep the feeling of a klezmer melody or ornament--but at the same time abstract that into a single gesture. Or, when I write a new tune, it has to be danceable, yet full of quirky and weird aspects--in short, Klezmer Madness!
In both brand new pieces and re-interpreta?tions of older standard repertoire, everything I play adheres to (or refers to) the basic forms of klezmer music: the Doina--rhapsodic, cantorial improvisation; the Chosidl--a kind of walking slower dance; the Terkish--a dotted-rhythm dance form from Rumania via Turkey ("oriental" in flavor); the old Rumanian Hora--a slow dance in a limping 38; and the Bulgar or Freylekh--an up-tempo dance tune for circle dancing and lift?ing honored guests up in chairs. This is a music that has been played from a time way before the earliest memories of my great-great grandparents in Eastern Europe; and I'm honored to continue this great tradition. So all I can say now is...enjoy! --David Krakauer
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nternationally acclaimed David Krakauer {Clarinet) redefines the notion of a concert artist. Known for his mastery of myriad styles including classical chamber music, Eastern European Jewish klezmer music, and avant-garde improvisation, Mr. Krakauer lies way beyond "cross-over." His best-selling classical and klezmer recordings further define his brilliant tone, virtu?osity, and imagination.
As one of the foremost musicians of the vital new wave of klezmer, Mr. Krakauer tours the globe with his celebrated Klezmer Madness! ensemble. While firmly rooted in traditional klezmer folk tunes, the band "hurls the tradition of klezmer music into the rock era" (Jon Pareles, The New York Times). With Klezmer Madness!, Mr. Krakauer has forged alliances among the gen?res of world music and jazz, rock, funk, and hip-hop. It simultaneously shouts out to those who remember "yesterday's" klezmer and to the hard dance clubbers and world music enthusiasts of today.
In addition to annual European tours to major international festivals and jazz clubs, Mr. Krakauer and his band have performed at the Library of Congress, Stanford Lively Arts, San Francisco Performances, Hancher Auditorium, and Symphony Space in New York. European venues have included the Venice Biennale, Krakow Jewish Culture Festival, BBC Proms, Saalfelden Jazz Festival, La Cigale, WOMEX, and New Morning in Paris.
Mr. Krakauer is also in demand worldwide as a guest soloist with the finest ensembles. Recent collaborations have included work with the Tokyo String Quartet, the Kronos Quartet (including
David Krakauer's Klezmer Madness!
their renowned collaboration on Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind), the Lark Quartet, Eiko and Koma, the Orquesta Sinfonica de Barcelona, and the Brooklyn Philharmonic Orchestra. He was a guest artist on tour in 2006 with the Emerson String Quartet and will tour in 2007-08 with the Orion String Quartet.
Mr. Krakauer has enjoyed enduring relation?ships with summer festivals including the Marlboro Music Festival, the Norfolk Chamber Music Festival, and the Aspen Music Festival. Other career highlights include an eight-year tenure with the Naumburg Award-winning Aspen
Wind Quintet, a performance in spring 2004 for the inaugural season of Carnegie's Zankel Hall in collaboration with renowned jazz pianist Uri Caine, and performing music written for him by Osvaldo Golijov for the BBC documentary Holocaust, A Music Memorial from Auschwitz, which won the 2005 International Emmy in the performance category.
Mr. Krakauer's discography contains some of the most important klezmer recordings of the past decade. His first release on the prestigious French jazz label Label Bleu (harmonia mundi usa), A New Hot One! was hailed a masterwork. His CD The Twelve Tribes, released in the fall of
2002, was designated "Album of the Year" in the jazz category for the Preis der deutschen Schallplattenkritik, the most important and estab?lished music award in Germany. Klezmer, NY (1988) on John Zorn's Tzadik label, features his visionary suite, "A Klezmer Tribute to Sidney Bechet," written in honor of the 100th birthday of the legendary jazz clarinetist. Also on Tzadik is Klezmer Madness--one of the label's bestseiling discs. Other CDs include the groundbreaking Rhythm and Jews (PiranhaFlying Fish) and Jews with Horns (PiranhaGreen Linnet) with the Klezmatics, In the Fiddler's House with violinist Itzhak Perlman and the Klezmatics, and chamber
music recordings on the Musical Heritage and New York Philomusica labels. His CD, David Krakauer: Live in Krakow, was released in 2004 (Label Bleuharmonia mundi usa), and his new CD, Bubbemeises: Lies My Gramma Told Me, fea?turing his collaboration with Jewish hip-hop beat architect Socalled, was released in Europe in May 2005 and in the US in 2006.
Mr. Krakauer has had major profiles in The New York Times, The New Yorker, The International Herald Tribune, and Downbeat, Jazz Times, Jazziz, and Chamber Music magazines. The performance of Klezmer Madness! at Joe's Pub on April 30, 2005, was picked one of the best performances of the year in AIIAboutlazz-New York's Best of 2005. Mr. Krakauer is on the clar?inet and chamber music faculties of the Mannes College of Music of the New School University, the Manhattan School of Music, and the Bard Conservatory of Music.
Sheryl Bailey (Guitar) is rated among the fore?most bop-based guitarists to have emerged in the 1990s. Her attack can be direct and hard swing?ing, but she also exudes subtlety, elegance of phrase, and a pure, warm, liquid sound. Her musi?cal activities aren't confined to groups working strictly in the orthodox, bop-based jazz tradition, as she has toured and recorded with bassist Richard Bona and collaborated with tenor saxo?phonist Gary Thomas, urban folk and jazz artist KJ Denhert, and pop diva Irene Cara. While her mid-1990s CD Little Misunderstood sees her playing with total familiarity and command of the fusion idiom, her latest releases, Reunion of Souls, The Power of Three, and Bull's Eye represent her love of contemporary straight-ahead jazz. In 1995, Ms. Bailey was awarded third place in the Thelonious Monk International Jazz Guitar Competition, and she has toured South America on behalf of the US State Department as a Jazz Ambassador, honoring the music of Duke Ellington. She currently leads her own trio, The Sheryl Bailey Three, with Gary Versace on Hammond B3 and Ian Froman on drums. She is also in demand as an educator. Ms. Bailey has been an Assistant Professor of Guitar at the Berklee College of Music since 2000, and has been a popular clinician at the National Guitar Summer Workshop, the Stanford Jazz Workshop, the Duquesne Jazz Guitar Seminar, UArts in Philadelphia, and at Southern Cross University in Lismore, Australia.
Trevor Dunn (Bass) has been active in both the Bay Area and New York scenes after having lived in San Francisco in the 1990s and then relocating to New York in 2000. He has worked alongside such noted artists as Graham Connah, Ben Goldberg, John Schott, Bob Ostertag, Miya Masaoka, Phillip Greenlief, living legends Hal Stein and Donald "Duck" Bailey, John Zorn, and has performed with Anthony Coleman, Joe McPhee, Susie Ibarra, Marc Ribot, Erik Friedlander, and Jesse Harris. His current discogra-phy includes nearly 40 recordings. Current activi?ties include Zorn's Electric Masada, a quartet led by tenor saxophonists Louie Belogenus and Tony Malaby, and a duo with harpist Shelley Burgon. For the past 15 years, Mr. Dunn has been known primarily as co-foundercomposer and bassist of the avant-rock band Mr. Bungle. More recently, he has become involved with Fantomas, a so-called super-group led by singercomposer Mike Patton which features the "godfather of grunge" Buzz Osbourne of the Melvins and the "god of death metal drumming" Dave Lombardo of Slayer. Mr. Dunn is now leading his own group, Trio-Convulsant. Their debut recording Debutantes & Centipedes, released in 1998 by Buzz Records, examines a twisted side of the 20th-century psyche. Mr. Dunn has studied bass with Red Callender, Mark Dresser, Stephen Tramontozzi, and Donald Palma.
Will Holshouser (Accordion) has developed his own approach to the accordion as an improviser, composer, and working musician. He is active in New York and internationally with his own trio and as a sideman, playing with Matt Munisteri, Brock Mumford, and Septeto Roberto Rodriguez. He has also worked with Phillip Johnston, Lenny Pickett, Andy Statman, Dave Douglas, Brian Dewan, Jenny Scheinman, the Raymond Scott Orchestrette, the Brooklyn Philharmonic Orchestra, Orpheus Chamber Orchestra, and the New York City Opera. Mr. Holshouser's second CD Singing to a Bee was released in 2006 on Clean Feed (Portugal).
Michael Sarin (Drums) is originally from Seattle, WA, where he began his formal musical educa?tion with drummer Dave Coleman, Sr. He contin?ued his studies at the University of Washington with percussionist Tom Collier, and later with Jerry Granelli at the Cornish Institute of the Arts. Since
moving to New York he has performed, toured, and recorded with musicians Ray Anderson, Tim Berne, Thomas Chapin, Anthony Coleman, Dave Douglas, Mark Dresser, Marty Ehrlich, Mark Helias, Lee Konitz, Andy Laster, Myra Melford, Mario Pavone, Bobby Previte, Ned Rothenberg, Brad Shepik, and John Zorn. He is currently tour?ing and recording with Ben Allison's Medicine Wheel and BANQ, Erik Friedlander's Broken Arm Trio, David Krakauer, Tony Malaby's Apparitions Quartet, and the Simon NabatovErnst ReijsegerMichael Sarin Trio.
Socalled (Samples, Keyboard) is a musician, pho?tographer, magician, and writer based in Montreal. He was born Josh Dolgin in Ottawa, Ontario and raised just north in Chelsea, Quebec. As a kid he was always in musicals and drew car?toons for the Ottawa Citizen. He hated soccer. He was bribed by his mother to continue piano les?sons until high school, where he then he picked up the accordion. He wrote for the newspaper and played in any kind of band--salsa, gospel, rock, funk--then discovered MIDI and hip-hop. He worked with rappers, he made "madd" beats, and he got into studios. He graduated from McGill and made a 50-minute animated film for the Canada Council, meanwhile writing for Hour Magazine and performing. He has now appeared on a dozen recordings as pianist, singer, arranger, rapper, writer, and producer. He rocks the machine with David Krakauer's Klezmer Madness!, sings with Toronto-based Beyond the Pale, and performs with home-base band Shtreiml in Montreal and the LA-based Aleph Project. He conducts the Addath Israel choir for High Holidays. Socalled performs and records widely with a crew of mixed-up freaks and geniuses from around the world, including Killah Priest, Susan Hoffman-Watts, Frank London, and Irving Fields. He has produced tracks for many rap acts, as well as the Greekbeat soundtrack for the award-win?ning documentary Man of Greece. His own docu?mentaries and animations have won many awards at the McGill Film Festival. Socalled's self-released EP The Socalled Seder was hailed in the Yiddish Forward as "one of the greatest works of Jewish music in years."
Tonight's performance marks the UMS debut of David Krakauer's Klezmer Madness!, featuring Socalled.

and
CFI Group
present
Measha Brueggergosman
Soprano
and
J.J. Penna
Piano
with special guest
William Bolcom
Piano
Program
Reynaldo Hahn
Ernest Chausson
Hugo Wolf
Thursday Evening, April 12, 2007 at 8:00 Hill Auditorium Ann Arbor
I
A Chloris Les fontaines L'heure exquise
II
Chanson perpetuelle
III
In dem Schatten meiner Locken Sagt' ihm dass er zu mir komme Bedeckt mich mit Blumen Geh', Geliebter, geh'jetzt!
INTERMISSION
William Bolcom
IV
Song of Black Max Surprise! The Actor Amor
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The Total Stranger in the Garden
Toothbrush Time
At the Last Lousy Moments of Love
George
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
64th Performance of the 128th Annual Season
128th Annual Choral Union Series
The photographing or sound and video record?ing of this recital or possession of any device for such recording is prohibited.
This performance is sponsored by CFI Group.
Special thanks to ProQuest Company for its support of the UMS Classical Kids Club.
This evening's Prelude Dinner was sponsored by TIAA-CREF.
Special thanks to George Shirley, Professor of Music (Voice), U-M School of Music, Theatre & Dance, for his participation in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspa?pers and Michigan ChronicleFront Page.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Measha Brueggergosman appears by arrangement with IMG Artists, LLC, New York, NY.
Large print programs are available upon request.
What Is Cabaret Song
F
irst, what it is not. It is not For Musicians Only. No piano tinkling unmerrily away out for an evening of no fun, especially for the words whose un-accented syllables are deftly fudged by accented accompaniment. As Lester Young said, "Play the words."
But what is cabaret song Is it the long letter to the Sad-Eyed Lady of the Lowlands sung by sad Dylan, or his commercial for psychedelics, Tambourine Man, or the John Wesley Harding dirge Unh unh, them's western ballads sung in saloons of the Pecos, not in cabarets, through Jacques Levy's lyrics to Dylan's hymn Durango saunter easily into the cabaret spot.
Dylan's partners, the Beats, don't sit too well either in the cabaret's dopeless smoke. Ginsberg's blues remain cantorial, stoned. Maybe Kerouac's hip haiku joined Stan Getz in a successful debut of improvisational lieder that could be listened to in a kind of club. Jazz and poetry spent a lot of time hanging out in bars, but jazz and poems do not generally a cabaret song make. Fran Landesman is the huge exception, supernally tal?ented writer of Spring Can Really Hang You Up the Most, to be hoarsely incanted in the dark to all the Sad Young Men at the bar.
Cabaret stuff cannot be electrified to an audi?ence of teary old timers at the Palace or the kids at the Palladium nor yet to Felt Forum throngs. Maybe in a small concert hall but not really; that's more an experience brought about by the heart?breaking wear and tear of cabaret life on its ill-paid performers who need the occasional lucra?tive airing.
Despite Virgil Thomson's accusation that British ballads are ungainly, the snippy maestro and master critic might agree that certain poets certainly qualify as makers of the soft-sung poem that lends itself to cabaret rendering: Shakespeare, Jonson, Donne, Campion, Sydney, Blake. And Dryden gave Purcell plenty to sing about in the key of cabaret.
But it is in Germany the rhinestone mantle of cabaret is worn most comfortably. Out of the Viennese cafe tradition that gave birth to Schubert's pop tunes, lieder in English, came the line from Oscar Straus to Brecht-Weill. Along the way, around the turn of our century, Schoenberg took time out from copying operetta scores to
write a few dozen items called Brettl-Lieder-cabaret songs.
Brecht and Weill, vowing to "write for today, to hell with posterity," produced their immortal numbers under national conditions of stress, adumbrated in the stridency of their sound and image. The Brecht-Weill lyric rasping was played in all the Berlin clubs and has been played in all the theaters of the western world ever since; played and played since those fearful times because they wrote for that "today" that comes around again and again.
Cabaret likes such ideas. It was ears-on educa?tion for a Germany with an education limited to the few, and (even to those educated few) cabaret songs told much of what journalism left out. But the facts and notions taught in the saw?dust classrooms of cabaret nite-life were collaged of poetry and flagrancy--not unlike the expres?sionist cinema of the day. And the lessons preached by Brecht of the preacher's family and the cantorial Weill were the doctrines of Einstein, Freud, and Marx decked out in the lipstick and mascara of cabaret.
The idea of Ideas as kissing cousins of popular song might make some sense if you remember that Bacon, Harvey and Newton, Galileo, and Copernicus were contemporaries of the same Elizabethan songmakers who gave us the innova?tions of sound and seriousness that characterize the lyrics output of Dowland, Morley, Blow, Byrd. And though there were no cabarets at the time, there were taverns and street-corners and the?aters where the small sound prevailed; folk and gentility met in the ballads that sang the news of the day.
The courtly and the popular were blended as early as the 15th century and wandered together with the chansonniers through the Renaissance. In Marriage a la Mode Dryden talks of notions "sung in cabarets," and Pepys in his diary (also of the 17th century) records walls that read "Dieu te garde" [God keep you] in the French cabarets. So it seems that cabarets favored political salt and amatory suit back then too.
But the most daring moment in the history of cabaret occurred in Zurich in February 1916. On that day Dada was born; in the chintzy sleazy unartistic unintellectual atmosphere of the Cabaret Voltaire, the movement that was to transform modern art and lay the groundwork for post-modernism was announced by a reading by
Tristan Tzara, followed by "performance art" by Arp and Kandinsky; lyrics by Wedekind, Morgenstern, Apollinaire, Marinette, Cendrars; designs by Modigliani, Picasso. Simultaneous reading of three poems "showing the struggle of the fox humana with...a universe of destruction whose noise is inescapable." (Hugo Ball's Diary).
An intellectually starved America, coming out of its long Puritanical fast, welcomed the new imports. Cabaret quality writing moved off the floor and onto the stage, where the '20s saw Rice's Adding Machine and Sophie Treadwell's Machinal, a kind of living newspaper that hap?pened to star Clark Gable; in the '30s Rome's Pins and Needles, Blitzstein's The Cradle Will Rock, Weill's Johnny Johnson all had the episodic, col-lagistic approach characteristic of cabaret. Even Our Town has the spare, loose quality of revue, with the cohesiveness of real theme that makes it cabaret-like in form.
In England Auden had begun his campaign against the uncouth refinement of political rhetoric:
Stop all the clocks, cut off the telephone...
Let airplanes circle, mourning overhead
Scribbling on the sky the message HE IS DEAD.
Put crepe bows round the necks of the pub?lic doves.
Let the traffic policemen wear black cotton gloves.
Clear and simple, but demanding that imagis-tic attention characteristic of the cabaret experi?ence. In some political bunker of their own archi-tecting, a couple of writers met and wrote the songs you'll hear [this evening].
Norse-American William Bolcom the composer studied with Roethke the poet, and before that, his feet barely hitting the pedals, Bill had played for the vaudeville shows passing through Seattle with such songs in the repertory as Best Damn Thing Am Lamb Lamb Lamb. Milhaud found Bill and brought him back alive to highbrow music, though he never lost his lowbrow soul (neither did Milhaud). Operas later, we wrote these songs as a cabaret in themselves, no production "val?ues" to worry about. The scene is the piano, the cast is the singer, in [our original] case Joan Morris, who inspired us with her subtle intima?tions of Exactly What She Wanted. We hope she
got it. Nobody defines better than she this elusive form of theater-poetry-lieder-pop-tavernacular prayer called cabaret song. --Arnold Weinstein Lyricist for Bolcom's Cabaret Songs.
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oted by the San Francisco Chronicle as "a singer of rare gifts and artistic intensity" and by the Washington Post for singing with "an all-encompassing warmth and joy, meld?ing honed artistry with youthful enthusiasm," Canadian soprano Measha Brueggergosman has emerged as one of the most magnificent per?formers and vibrant personalities of the day. She is critically acclaimed by the international press as much for her innate musicianship and radiant voice as for a sovereign stage presence far beyond her years. Her extraordinary versatility, intuitive musicality, and radiant star quality have yielded an exclusive recording contract with Deutsche Grammophon.
A dynamic scope of repertoire coupled with a profound depth of artistic commitment bring Ms. Brueggergosman together with many of the finest international orchestras and most esteemed conductors of our day. During the 0607 season, symphonic performances include Beethoven's Symphony No. 9 with Robert Spano and the Atlanta Symphony, with Daniel Barenboim and the Orchestra Teatro della Scala, and with Franz Welser-Most and the Cleveland Orchestra (in Cleveland and on tour); opera arias with Sir Andrew Davis and the New York Philharmonic; Schonberg's Brettl-Lieder and Mahler's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra; Gershwin songs with the BBC Scottish Symphony Orchestra at Glasgow's Proms in the Park concert; and, with Gustavo Dudamel, performances of Mahler's Des Knaben Wunderhorn with the Israel Philharmonic Orchestra and of Strauss' Vier Letze Lieder with the Gothenburg Symphony Orchestra on tour in Sweden and France.
Deeply committed to the art of recital where her programs are likely to include less frequently-heard songs by Bolcom, Satie, and Montsalvatge alongside more familiar works by Mahler, Ravel, and Strauss, Ms. Brueggergosman's busy sched?ule includes solo recitals at London's Wigmore
Measha Brueggergosman
Hall and the Palais des Beaux-Arts in Brussels with Roger Vignoles, in Gstaad with Jean-Yves Thibaudet, and at Hertz Hall in Berkeley and Hill Auditorium in Ann Arbor with J.J. Penna. Notable performances of the recent past have included William Bolcom's Songs of Innocence and Experience with Leonard Slatkin and the orchestra and chorus of the University of Michigan, record?ed and released commercially by the Naxos label and winner of multiple Grammy Awards.
Ms. Brueggergosman has been honored to participate in a number of very special events including the gala re-openings of Roy Thomson Hall and of the University of Michigan's Hill Auditorium, Canada Day celebrations from Parliament Hill in Ottawa, and the opening cere?monies of the XVI International AIDS Conference in Toronto--her performance presented under the auspices of MAC Cosmetics--sharing the stage with Bill Gates and President Bill Clinton. She has performed at the World Economic Forum in Davos, Switzerland during two consecutive years, and has given a Royal Command Performance for Queen Elizabeth II. She also has sung for the Prince of Wales, President Tarja
Halonen of Finland, Her Excellency the Right Honourable Adrienne Clarkson, and Nelson Mandela.
So Much to Tell, Ms. Brueggergosman's first solo commercial recording on the CBC Records label, with the Manitoba Chamber Orchestra and conductor Roy Goodman, features music by Barber, Copland, and Gershwin. Her second release for CBC Records, Extase, presents a sump?tuous program of Berlioz's Les nuits d'ete and Massenet opera arias with Yoav Talmi and the Orchestre Symphonique de Quebec.
Ms. Brueggergosman has been the subject of a full-length feature documentary, Spirit in her Voice, aired by the CBC network and she has starred in numerous independent short music-films including Go Diva! and Infinite Dream. She joined an illustrious panel of celebrity judges on the Idol Underground competition, an artist driv?en alter-ego of the American Idol and Canadian Idol brand, and appeared as a special celebrity guest on television episodes of The Surreal Gourmet, Opening Night, Bathroom Divas, and Bravo Arts & Minds. Comprehensive performance and career information is found at www. measha. com.
Ms. Brueggergosman was awarded the Grand Prize at the 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner at The Dutch International Vocal Competition's-Hertogenbosch, the Wigmore Hall in London, George London Foundation in New York, The Queen Sonja International Music Competition in Oslo, and the ARD Music Competition in Munich. She also is a recipient of the prestigious Canada Council and Chalmers Performing Arts Grants. She studied at the University of Toronto with Mary Morrison and pursued postgraduate studies in Germany with Edith Wiens.
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omposerpianist William Bolcom was born in Seattle, Washington in 1938. Exhibiting musical talent while still very young, he began private composition studies at age 11 with John Verrall and piano lessons with Berthe Poncy Jacobson at the University of Washington. In 1958 Bolcom earned his B.A. from the University of Washington, then went on to study with Darius Milhaud at Mills College in California and at the Paris Conservatoire de
Musique, and earned a doctorate in composition in 1964 from Stanford University, working with Leland Smith. Returning to the Paris Conservatoire, he won the 2e Prix in Composition in 1965. While in Europe he began writing stage scores for theaters in West Germany, continuing at Stanford University, in Memphis, Tennessee, at Lincoln Center in New York, and the Yale Repertory Theater.
Mr. Bolcom's compositions include four violin sonatas; eight symphonies; three operas (McTeague, A View from the Bridge, and A Wedding), plus several musical theater operas; 11 string quartets; two film scores (Hester Street and Illuminata); incidental music for stage plays (including Arthur Miller's Broken Glass); fanfares and occasional pieces; and numerous chamber, keyboard, choral and vocal works.
Mr. Bolcom's setting of William Blake's Songs of Innocence and of Experience, a full-evening work for soloists, choruses, and orchestra, culmi?nated 25 years of work on the piece. Premiered at the Stuttgart Opera in 1984, subsequent per?formances followed in Ann Arbor, Chicago's Grant Park, at the Brooklyn Academy of Music, Powell Hall in St. Louis, Carnegie Hall, Royal Festival Hall in London (broadcast live on BBC
Radio 3 throughout the United Kingdom), and La Jolla, California. The April 8, 2004, performance in Ann Arbor, Michigan, commemorated the reopening of recently-renovated Hill Auditorium and occurred, almost to the day, 20 years after the US premiere in the same hall. Utilizing the University of Michigan School of Music orchestra, various choirs and professional soloists, it was recorded by Naxos and won four Grammys in February 2006.
Mr. Bolcom's Grammy nominations from previ?ous years were for recordings of his Fourth Symphony (featuring Joan Morris as soloist) with Leonard Slatkin and the Saint Louis Symphony Orchestra and Orphee-Serenade, recorded by the Orpheus Chamber Orchestra with Mr. Bolcom as pianist.
Other highlights of the last two decades include various symphonic premieres and operas. James Levine and the Vienna Philharmonic pre?miered the Fantasia Concertante for viola, cello, and orchestra in 1986 at the Mozarteum in Salzburg; the Fifth Symphony was premiered in 1990 by The Philadelphia Orchestra and Maestro Davies. Also under Davies' baton, Bolcom's first opera, McTeague starring Ben Heppner in the title role and Catherine Malfitano as his wife
William Bolcom
Trina, was premiered by the Lyric Opera in Chicago on October 31, 1992, and subsequently played to nine sold-out houses. The University of Indiana at Bloomington presented four perform?ances in February and March 1996. Maestro Davies also presided at nine sold-out performanc?es of A View from the Bridge in October and November 1999 in Chicago, as well as at The Metropolitan Opera in December 2002. The University of Indiana at Bloomington, Pittsburgh Opera Theater and Portland Opera have also pro?duced View.
Mr. Bolcom and Arnold Weinstein's 1990 cabaret opera, Casino Paradise, was revived by the Prince Music Theater in Philadelphia in May 2004 and was presented as part of the American Songbook Series in the Allen Room of Jazz at Lincoln Center in February 2005.
Future commissions include a fourth opera for Lyric Opera of Chicago; an adaptation of Idiot's Delight, featuring Joan Morris, for Milwaukee's Florentine Opera; a string octet; and a work for the University of Michigan Bands.
Mr. Bolcom has taught composition at the University of Michigan since 1973; he has been a full professor since 1983 and was Chairman of the Composition Department from 1998 to 2003. In the fall of 1994 the University of Michigan named him the Ross Lee Finney Distinguished University Professor of Music in Composition. During the fall 2003 semester he was in residence
at the American Academy in Rome and was the Ernest Bloch Composer in Residence at UC Berkeley during the winter of 2005.
P
ianist J.J. Penna has performed in recital with such eminent singers as Kathleen Battle, Harolyn Blackwell, William Burden, Amy Burton, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas, and Ying Huang. He has been heard at the Kennedy Center in Washington DC; Weill Hall, Zankel Hall, and Merkin Recital Hall in New York; the Palacio de Bellas Artes in Mexico City; Seizi Ozawa Hall at Tanglewood; Wigmore Hall in London; as well as on concert tours throughout the US, Europe, Asia, the Far East, South America, and the former Soviet Union. Devoted to the per?formance and study of new music, he has pre?miered song cycles by William Bolcom, Ricky Ian Gordon, Richard Hundley, and Lowell Liebermann.
The 0607 season includes recitals with Measha Brueggergosman, Harolyn Blackwell, William Burden, and Joshua Hopkins throughout the US and Canada.
Mr. Penna has performed and held fellowships at prestigious festivals such as Tanglewood Music Center, Chautauqua Institution, Banff Center for the Arts, Norfolk Chamber Music Festival, the Music Academy of the West, and San Francisco Opera Center's Merola Program, where he
UMS ARCHIVES
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onight's artists have been presented by UMS in various concerts, and all have performed works of William Bolcom in Ann Arbor in the past. Measha Brueggergosman made her UMS debut at Hill Auditorium's Re-Opening Celebration on January 17, 2004, where she (with William Bolcom on piano, in his most recent UMS appearance) performed selections from Cabaret Songs as a last-minute program substitution for the ailing Audra McDonald. She later appeared as soprano soloist in the presentation of William Bolcom's Songs of Innocence and of Experience in April 2004 at Hill Auditorium, and in recital in November 2004. J.J. Penna has also performed the works of William Bolcom in Ann Arbor, both with Ms. Brueggergosman in her 2004 recital, and with soprano Harolyn Blackwell and mezzo-soprano Florence Quivar performing From a Diary of Sally Hemings in 2002. Mr. Penna is a graduate of the U-M School of Music.
received the Otto Guth Award.
Mr. Penna devotes much of his time to the teaching of art song literature, having taught at Westminster Choir College of Rider University since 1996. He was formerly on the faculties of the Yale University School of Music, Norfolk Chamber Music Festival, and the Bowdoin Chamber Music Festival, where he coordinated the Vocal Arts Program for three summers. He has been a staff member of the Steans Institute for Young Artists since 2000 and joined the coaching faculty of the Juilliard School in September of 2006.
J.J. Penna

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