Press enter after choosing selection

UMS Concert Program, Thursday Apr. 07 To 23: University Musical Society: Winter Spring 2011 - Thursday Apr. 07 To 23 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter Spring 2011
Hill Auditorium

WinterSpring 2011 Season 132nd Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of 3 will not be admitted to regular, full length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the audito?rium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free.
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
Thursday, April 7 through Saturday, April 23, 2011
Septeto Nacional de Cuba "Ignacio Pineiro"
April 7, 8:00 pm Hill Auditorium
Takacs Quartet 7
Friday, April 8, 8:00 pm Rackham Auditorium
Tetzlaff Quartet 13
Saturday, April 9, 8:00 pm Rackham Auditorium
Tony Allen's Secret Agent 19
Saturday, April 16, 8:00 pm Hill Auditorium
Songs and Waltzes of Love 23
Saturday, April 23, 8:00 pm Hill Auditorium
ums University Musical Society
Winter 2011
2 j NT Live: Hamlet 14-15: Laurie Anderson's Delusion
16 Renee Fleming, soprano 21-22: Grupo Corpo
23 I Joanne Shenandoah
30 30
Baby Loves Salsa Family Performances NT Live: FELA!
The Cleveland Orchestra with Pierre-Laurent Aimard, piano Jazz at Lincoln Center Orchestra with Wynton Marsalis Canceled New Century Chamber Orchestra with I Nadja Salerno-Sonnenberg, violin
Blues at the Crossroads: The Robert I Johnson Centennial Concert
i Rafat Blechacz, piano
i Vijay Iyer Trio and Rudresh Mahanthappa's Apex
13 I Concertante with Rafat Blechacz, piano 18-19 Merce Cunningham Dance Company:
: The Legacy Tour
20 i Takacs Quartet: Schubert Concert 2 20 NT Live: King Lear 23 Kodo
Scharoun Ensemble Berlin
Druid and Atlantic Theater Company:
Martin McDonagh's The Cripple of
Detroit Symphony Orchestra with the
UMS Choral Union:
Mahler's Symphony No. 8 Canceled
Bach Collegium Japan:
Bach's Mass in b minor
Propeller: Shakespeare's Richard III and The Comedy of Errors
St. Petersburg Philharmonic with
Nikolai Lugansky, piano .
NT Live: Frankenstein
Septeto Nacional de Ignacio Pineiro
de Cuba
Takacs Quartet: Schubert Concert 3
Tetzlaff Quartet
Tony Allen's Afrobeat Tour
Liebeslieder Waltzes (Songs and
Waltzes of Love)
Breakin' Curfew
NT Live: The Cherry Orchard
Through Saturday, April 23, 2011
UMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS Education Department at 734.615.4077 or
Tony Allen's Afrobeat Tour
After Party!
Saturday, April 76, post-performance Elks Lodge, 220 Sunset Road
Following Tony Allen's performance, UMS, Dark Matter, and the United African Community
Organization continue the dancing at a post-concert after party! $5 cover; complimentary admission with a ticket stub from the concert. Cash bar.
A collaboration with the United African Community Organization and Dark Matter.
Septeto National de Cuba "Ignacio Pineiro"
Eugenio Rodriguez Rodriguez, Director and Lead Vocals
Enrique A. Collazo Collazo, Guitar and Vocals
Dagoberto Sacerio Oliva, Guitar and Vocals
Agustin Someillan Garcia, Trumpet
Raul Acea Rivera, Bass
Crispin Diaz Hernandez, Maracas and Vocals
Francisco David Oropesa Fernandez, Bongos
Thursday Evening, April 7, 2011 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced from the stage by the artists and will be performed without intermission.
63rd Performance of the 132nd Annual Season
UMS Global: Americas & Americans
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Media partnership is provided by WEMU 89.1 FM, Michigan Chronicle, and Metro Times.
Septeto Nacional de Cuba appears by arrangement with Opus 3 Artists, New York, NY, and is managed by Global Arts Management, Canada.
Large print programs are available upon request.
or more than 80 years, Septeto Nacional de Cuba has reigned supreme as the world's foremost champion and protector of Cuban son, the musical heartbeat of Cuba. The seven-piece band was founded in 1927 by wildly prolific Cuban bassist Ignacio Pineiro Martinez. Since then, the group has seen an array of Cuban musical superstars pass through its ranks, including Abelardo Barroso, Miguelito Valdes, Bienvenido Granda, and Carlos Embale.
Today, Eugenio Rodriguez "Raspa" and Frank Oropesa "El Matador" carry Pinero's musical torch as leaders of the group, keeping the original acoustic Rumba sound while also incorporating elements of contemporary harmonization, wider rhythmic concepts, and an exceptional repertoire that includes the most important Cuban hits, many of which were written by Pineiro himself. Cuban son combines elements of Spanish cancion and guitar music with African rhythms and percussion and gained immense popularity around the turn of the century, continuing through the 1940s. The history of the genre is closely tied to Ignacio Pineiro, who originally founded the Septeto Nacional.
The group made its first recording in 1928 and simultaneously embarked on its international career. In subsequent years, the ensemble's membership went through various changes as other son bands heightened the competition. After the Cuban Revolution of 1959, the group was reinvigorated. Some of its original members returned and the Septeto recorded several LPs. In
1932, George Gershwin traveled to Cuba and heard the music of Septeto Nacional. He and Pineiro became friends and the influence of the latter's "Echale Salsita" can even be heard in Gershwin's own Cuban Overture. As the genre gained popularity, songs like "Esas no son Cubanas" and "Suavecito" filled the dance and music halls on both sides of the Atlantic, laying a foundation for what is today known as salsa. In 2003, Septeto Nacional de Cuba enjoyed
a triumphal return to the elite, being nominated for a Grammy Award in the category "Traditional Tropical Music." Since then, the group has appeared in over 35 countries and five continents, including the US, Mexico, Algeria, Canada, Colombia, Denmark, Venezuela, England, Norway, Switzerland, France, Ireland, Spain, Germany, Turkey, Russia, and the United Arab Emirates. The septet is currently recognized as Patrimonio Nacional de la Cultura Cubana (a national treasure of Cuban culture) for the quality of its dedication to the roots of Cuban son. In 2009, the Septeto made history with its highly acclaimed return to the US--its first American tour in 76 years.
UMS welcomes Septeto Nacional de Cuba as it makes its UMS debut tonight.
For Septeto Nacional de Cuba
Ricardo Roberto Oropesa Fernandez, Cultural Promoter Daniel Angel Daniel Pajare, Audio Technician
".. .the greatest living real band in the world." --Ry Cooder
Takacs Quartet
Edward Dusinberre, Violin
Karoly Schranz, Violin
Geraldine Walther, Viola
Andras Fejer, Cello
Jeffrey Kahane, Piano
Paul Katz, Cello
John Feeney, Double Bass
Franz Schubert
Friday Evening, April 8, 2011 at 8:00 Rackham Auditorium Ann Arbor
Piano Quintet in A Major, D. 667
Allegro vivace
Scherzo: Presto--Trio
Theme and Variations: Andantino--Allegretto
Finale: Allegro guisto
Mr. Kahane, Mr. Feeney
String Quintet in C Major, D. 956
Allegro ma non troppo
Scherzo: Presto--Trio: Andante sostenuto
Mr. Katz
64th Performance of the 132nd Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Gilbert Omenn and Martha Darling.
Takacs Quartet appears by arrangement with Seldy Cramer Artists and records for Hyperion and DeccaLondon Records.
Mr. Kahane appears by arrangement with Linda Marder at CM Artists, New York, NY.
Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at the South Bank Centre, London.
Please visit for further information.
Large print programs are available upon request.
Now that you're in your seat...
chubert's two magnificent quintets represent two facets of his unique musical personality that could almost be called opposites. The "Trout" Quintet is a sunny and carefree work of a vital and energetic 22-year-old, confident in his enormous gifts; the work brims with joie de vivre and, while it contains technical challenges for the performers, is conceptually and emotionally unproblematic. The C-Major Quintet, on the other hand, was written nine years later by a Schubert who had been marked by illness and who had looked into a deep abyss after which life could never be the same again. (He died soon after completing the piece.) The "Two-Cello Quintet" is far more complex, with richer harmonies and greater dramatic contrasts, than Schubert's earlier music. Here the 31-year-old composer truly demonstrates the height of his creative powers.
Piano Quintet in A Major, D. 667,
"Trout" (1819) Franz Schubert Born January 31, 1797 in Himmelpfortgrund,
near Vienna (now part of the city) Died November 19, 1828 in Vienna
Snapshot of History... In 1819:
Spain cedes Florida to the United States
Percy Bysshe Shelley writes Ode to the West Wind
Arthur Schopenhauer writes The World as Will and Representation
Walt Whitman is born
Queen Victoria is born
Franz Schubert spent his summer vacation in 1819 in the town of Steyr in Upper Austria, with his friends Albert Stadler and Johann Michael Vogl (both of whom were originally from that region). Before long, Stadler and Vogl had introduced the young composer to Sylvester Paumgartner, a local businessman and amateur cellist whose salon was one of the town's principal centers of musical activity. Paumgartner suggested to the young composer that he write a piano quintet, one that might include a set of variations on Schubert's song "Die Forelle" (The Trout), and that would be modeled on Hummel's Septet in d minor (or more correctly, on Artaria's piano-quintet arrangement of the Hummel score). Schubert began work on the quintet while still in Steyr, and finished it later that fall in Vienna.
This quintet is an amiable composition, redolent with all the delights--natural, social, and musical--that Schubert enjoyed on his vacation. Clive Brown writes that it reveals Schubert in his genial mood: "He certainly did not intend to impress listeners with subtleties of compositional technique, but he succeeded magnificently in charming and captivating them. Despite occasional deeper moments, four of the five movements seem primarily to reflect the carefree atmosphere of his holiday in Upper Austria; only the second movement sustains a more introspective mood."
Although the score was not published until after the composer's death (any performances necessarily being prepared from the manuscript), the publication announcement included the observation that connoisseurs had already declared it a masterpiece. Since its publication, it has become one of Schubert's most famous compositions, exceeded perhaps only by a handful of songs and the "Unfinished" Symphony. It is certainly one of his most refreshing and delightful scores.
The inspiration for the commission of this work may have been Hummel's Septet, but the nearest model is perhaps Beethoven's popular Septet, which also has five movements. This structure aligns the Beethoven and Schubert works with the "serenade" tradition, which relied more often on unusual combinations of available instruments (Schubert's Quintet includes a double bass) and a friendlier outlook than most "serious" chamber compositions.
The tonic pedal with piano triplets that opens the first movement is a call to attention, and precedes the actual first theme. The theme itself doesn't call for elaboration, and much of the
exposition consists of variations on the motifs, but the triplet figure persists through the movement, functioning as a unifying device.
The quintet as a whole is based on the notion of song-derived instrumentality, and doesn't feel confined to classical notions of form or development. This becomes especially clear when Schubert begins the first-movement recapitulation in the sub-dominant rather than the expected tonic. By transposing the entire exposition down a fifth for the recapitulation, the second theme then reappears in the tonic without need for any re-composition. Occasionally criticized by pedants as a "lazy" approach to sonata form--or the possible result of composing in haste--the movement is so abundantly cheerful that this transgression of traditional classical procedure succeeds merely in reinforcing its easy-going and carefree demeanor.
The second movement, like the first, states and varies the melodic materials with little "working out" of motifs. It is in a binary form that roughly approximates a sonata-allegro form without development section (sometimes referred to as "slow-movement sonata form"). Melodies emerge gently from the violin, cello, and piano, with the cello's countermelodies prefiguring some of Schubert's ravishing string duets in the late chamber works. The frequency of unexpected harmonic shifts suggest that Schubert used harmony and modulation coloristically rather than functionally, such as the breath-catching move from F Major to f-sharp minor near the start of the movement. Schubert uses the same "lazy" sonata principle here to bring back the second theme in tonic near the end.
The "Scherzo" and "Trio" are much more developmentally wrought. The driving and abrupt "Scherzo" hints that something stormier may be lurking nearby, and an unexpectedly dark modulation to the flattened mediant confirms the impression. But the "Trio" dispels those moods with much use of the Austrian folk rhythms that seemed to come so naturally to Schubert.
The first stanza of Schubert's song "Die Forelle" (first written in 1817, but subsequently revised several times) provides the theme for the variation's fourth movement. The song itself was replete with drama, as the tranquil scene established in the opening stanzas is disturbed by the fisherman's successful deception and capture of the trout. But Schubert focuses on the simple harmonization of the song's opening melody
(repeating the first line to create a simple binary form), making it the basis for five variations of increasing elaborateness and exploratory verve. The first three variations move the melody into inner voices, while the fourth and fifth explore distant and dramatic harmonic realms. At the end, a return to the opening melody also signals for the first time a recollection of the piano accompaniment from the song, with its characteristic rippling, watery figures.
The finale is simple and lighthearted, with abundant "Magyar" rhythms and dance-like syncopations. Again, Schubert effects a wholesale transposition of materials so that the secondary themes come back in tonic at the conclusion. Exotic figures dominate much of the movement, until the bubbling triplets that had announced the opening of the first movement come back to unify and frame the entire quintet.
Program note by Luke Howard.
String Quintet in C Major, D. 956 (1828) Schubert
Snapshot of History... In 1828:
Andrew Jackson elected President of the United States
Leo Tolstoy is born
Hungarian scientist Anyos Jedlik builds the world's first electric motor
Marble Arch is completed in London
The Bosendorfer piano manufacturing company is founded in Vienna
The high esteem in which performers and audiences hold Schubert's String Quintet is perhaps best summarized by his biographer John Reed, who stated that the String Quintet is "not only essential Schubert, not only his greatest piece of chamber music, but on any reckoning a supremely poetic expression of the romantic spirit in music."
Schubert seems to have 'ollowed the Mozartian model in composing a string quintet although, unlike Mozart, he added a second cello to the standard ensemble rather than a second viola. Schubert leaves the opening of the first movement harmonically ambiguous, hesitantly touching on the tonic key before embarking on some tonal wanderings that
Takacs Quartet
are a hallmark not only of this work, but of his late style in general. The first theme in this sonata-form movement, a jaunty contrapuntal passage reworked from an earlier Fantasia for violin and piano, quickly gives way to the famous second theme, a glorious cello duet in E-flat that is the emotional center of the movement.
Jack Westrup once noted that this "robust and courageous" String Quintet is "illuminated by shafts of tenderness that no-one, having once heard them, can ever forget." Undoubtedly he was referring to the second movement "Adagio," one of the most sublime moments in the entire chamber repertoire. Its haunting yet gentle opening remains imprinted on the listener long after the sounds have died away. Despite its seeming simplicity, such music is extraordinarily difficult to write. The slow pace lays everything open to view, but in so doing, only demonstrates Schubert's perfect control of his resources.
The third movement "Scherzo" and "Trio" is almost a mirror image of the preceding "Adagio." In each, the central sections both juxtapose contrasting expressive worlds. The "Scherzo" is heavy and physical, while the "Trio"--normally the section where Schubert allows a moment of spiritual release, a lilting dance, or lyrical point of repose--is wistful and questioning, in both harmonic language and emotional disposition.
In the Finale, Schubert shows that his humor is not all lost in pathos. The dance begins in c minor, but another cello duet soon establishes the tonic C Major, and before long the sounds of country fiddles and droning accordions enliven the dance without any hint of irony.
qually at home at the keyboard or on the podium, Jeffrey Kahane has established an international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire. Since making his Carnegie Hall debut in 1983, Mr. Kahane has given recitals in many of the nation's major music centers. He appears as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Rotterdam Philharmonic, Israel Philharmonic, and the Leipzig Gewandhaus, and is also a popular figure at summer festivals. Mr. Kahane is equally well-known for his collaborations with artists and chamber ensembles such as Yo-Yo Ma, Dawn Upshaw, Joshua Bell, Thomas Quasthoff, and the Emerson and Takacs Quartets.
Mr. Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then he has guest conducted orchestras including the New York and Los Angeles Philharmonics, Philadelphia Orchestra, Saint Paul Chamber Orchestra, Academy of St. Martin's in the Fields, and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis, Dallas, and New World Symphonies. Currently in his 14th season as Music Director of the Los Angeles Chamber Orchestra, Mr. Kahane concluded his tenure as Music Director of the Colorado Symphony in June 2010 and was Music Director of the Santa Rosa Symphony for ten seasons. A native of Los Angeles and a graduate of the San Francisco Conservatory of Music, Mr. Kahane's early piano studies were with Howard Weisel and Jakob Gimpel. Mr. Kahane resides in Santa Rosa with his wife, Martha. They have two children: Gabriel, a composer, pianist, and singer songwriter and Annie, a dancer and poet.
s cellist for 26 years of the Cleveland Quartet, Paul Katz appeared in more than 2,500 concerts on four continents and made 70 recordings, which earned 11 Grammy Award nominations and two Grammy Awards. The members of the CQ were the first classical artists to appear on the Grammy Awards telecast. In addition to his studies with Bernard Greenhouse, he was a student of Gregor Piatigorsky, Janos Starker, and Leonard Rose. In September 2001, Mr. Katz joined the faculty of the New England Conservatory of Music (NEC) where he teaches
Photo Peter Smith
cello and mentors a training program for young professional string quartets. In 2001, he was awarded Chamber Music America's highest honor, the National Service Award, given for a lifetime of distinguished service to the field of chamber music. The American String Teachers Association named Mr. Katz their "Artist-Teacher 2003," and Indiana University awarded him its coveted Chevalier du Violoncelle for distinguished achievements and contributions to the world of cello playing and teaching. In conjunction with Boston's WGBH and NEC, he recently launched, an international teaching and learning site for cellists, with video lessons in several languages.
ohn Feeney is principal bassist of the Orchestra of St. Luke's, The American Classical Orchestra, The Grand Tour Orchestra, and appears as principal bassist for Opera Lafayette and Sinfonia New York. Mr. Feeney won First Prize in the Concert Artists Guild and Zimmerman-Mingus International Competitions and was a medalistprize winner in the Geneva and Isle of Man Competitions. His numerous performances of double bass concerti with international orchestras includes the 2007 world premiere of Paquito D'Rivera's Concerto for ClarinetSax and Double Bass and, in 2010, the modern world premiere of the Domenico Dragonetti concerto in D of which The New York Times described as "a skilled and passionate performance, the gut strings on his instrument producing an earthy sound...bravura solo passages that feature rapid passagework and double-stops, which Mr. Feeney played with flair." He has recorded for all the major record labels and has released two prize-winning world premiere recordings of the music of Dragonetti and Joseph Haydn.
ecognized as one of the world's great ensembles, the Takacs Quartet plays with a unique blend of drama, warmth, and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. Commenting on their latest Schubert recording for Hyperion, Gramophone noted; "The Takacs have the ability to make you believe that there's no other possible way the music should go. and the strength to overturn preconceptions that comes only with the greatest performers."
Based in Boulder at the University of Colorado,
the Takacs Quartet performs 90 concerts a year worldwide, throughout Europe as well as in Australia, New Zealand, Japan, and South Korea. The 1011 season includes a Bartok Cycle in Sydney, and a three-concert series focusing on Schubert in New York (92nd Street Y) and at the University Musical Society in Ann Arbor. The series features the New York premiere of a new work composed for the Quartet by Daniel Kellogg, based on the slow movement theme of Schubert's "Death and the Maiden" Quartet.
The Quartet's award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005, the Late Beethoven Quartets won "Disc of the Year" and the Chamber Award from BBC Music Magazine, a Gramophone Award, and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy Award, another Gramophone Award, a Chamber Music of America Award, and two further awards from the Japanese Recording Academy. Of their performances and recordings of the Late Quartets, the Cleveland Plain Dealer wrote " The Takacs might play this repertoire better than any quartet of the past or present."
In 2006, the Takacs Quartet made their first recording for Hyperion Records of Schubert's String Quartets Nos. 13 and 14. A disc featuring Brahms's Piano Quintet with Stephen Hough was released to great acclaim in November 2007 and was subsequently nominated for a Grammy Award. A recording of Brahms's Op. 51 and Op. 67 Quartets was released in Fall 2008 and a disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin was released in 2009. The complete Haydn "Apponyi" Quartets, Op. 71 and 74, will be released in early 2011.
The Quartet is known for innovative programming. In 2007, with Academy Award-winning actor Philip Seymour Hoffman, the Quartet performed Everyman in Carnegie Hall, inspired by the Philip Roth novel. The group collaborates regularly with the Hungarian folk ensemble Muzsikas, performing a program that explores the folk sources of Bartok's music. The Quartet performed a music and poetry program on a 14-city US tour with the poet Robert Pinsky.
At the University of Colorado, the Takacs Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The
Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West in Santa Barbara. The Quartet is a Visiting Quartet at the Guildhall School of Music and Drama in London.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer, while all four were students. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions, and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined the Quartet in 1993 andviolist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. In 2001, the Takacs Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
UMS Archives
his evening's concert marks the Takcs Quartet's 15th appearance under UMS auspices. The Quartet made its UMS debut in February 1984 and last appeared at UMS earlier this season in February at Rackham Auditorium for the second of three concerts in this season's Schubert cycle.
Tonight's concert marks cellist Paul Katz's fourth appearance under UMS auspices. Mr. Katz made his UMS debut in November 1974 with the Cleveland Quartet and last appeared under UMS auspices in March 1995.
Bassist John Feeney makes his second UMS appearance this evening, following his UMS debut as a member of the Orchestra of St. Luke's Chamber Ensemble in October 1997.
UMS welcomes pianist Jeffrey Kahane who makes his UMS debut this evening.
Tetzlaff Quartet
Christian Tetzlaff, Violin Elisabeth Kufferath, Violin Hanna Weinmeister, Viola Tanja Tetzlaff, Cello
betcol Program
Saturday Evening, April 9, 2011 at 8:00 Rackham Auditorium Ann Arbor
@@@@Franz Joseph Haydn
Felix Mendelssohn
String Quartet in g minor. Op. 20, No. 3
Allegro con spirito Minuet: Allegretto Poco adagio Finale: Allegro di molto
String Quartet in a minor. Op. 13
Adagio. Allegro vivace Adagio non lento Intermezzo: Allegretto con moto Presto
Jean Sibelius
String Quartet in d minor. Op. 56
Andante--Allegro molto moderato
Adagio di molto
Allegretto ma pesante
Allegro--Piu allegro
65th Performance of the 132nd Annual Season
48th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Anne and Paul Glendon. Media partnership is provided by WGTE 91.3 FM.
The Tetzlaff Quartet records for CAvi Music and appears by arrangement with CM Artists New York.
Large print programs are available upon request.
Now that you're in your seat...
n entire evening in the minor mode promises high drama, some turmoil, and a great deal of passion. In the 18th century, such feelings were the exception rather than the rule; the overwhelming majority of the music was written in major keys, with the minor reserved for rare occasions of exceptional emotional intensity. Later composers used the minor mode much more frequently, making it a preferred channel for their most "intimate voices."
String Quartet in g minor. Op. 20, No. 3
Franz Joseph Haydn
Born March 31, 7732 in Rohrau, Lower Austria Died May 37, 7809 in Vienna
Snapshot of History... In 1772:
Samuel Taylor Coleridge is born
In Boston, Phillis Wheatley proves in court that an African woman can indeed write poetry
Goethe starts work on the Urfaust--the beginning of a lifelong involvement with the Faust topic
Completion of the Encydopedie in France
Daniel Rutherford isolates nitrogen for the first time
The six quartets published as Op. 20 mark Haydn's first maturity as a quartet composer. The cycle has long been linked to Haydn's so-called Sturm und Drang (storm and stress) period--a period in the early 1770s during which he wrote more work in a dark, dramatic mood than at any other time in his life. One sign of that dramatic quality is the frequent use of the minor mode, which helps generate a more intense harmonic idiom and express feelings that anticipate the Romantic era.
Op. 20 is the only set of Haydn quartets to contain not just one but two quartets in a minor key. What is more, both are in the minor key all the way through, without a modulation to the major before the end as we would find in many of Haydn's later works. Here as elsewhere, the minor mode goes hand in hand with more complicated harmonies and many surprising rhythmic and metric effects.
In 1772, what we now know as "Viennese Classical style" was still in the early stages of its evolution. A movement like the opening Allegro
con spirito" of Op. 20, No. 3 is already a full-fledged classical sonata form in the usual three sections, with a fairly substantial development section between the exposition and recapitulation. Yet the organization of these sections is not quite the same as we would find in later Haydn: the inner boundaries of the form are not as clear-cut. There is no real second theme to contrast with the first one: instead, the opening theme (which has an asymmetrical, seven-measure structure) dissolves into short motives and figurations whose highly unpredictable succession results in a string of separate (but motivically related) musical events.
The asymmetry continues in the second-movement minuet, which would be quite impossible to dance to. It is a rather dark movement (a type sometimes referred to a minuetto serio, serious minuet) whose phrases are not four but five measures in length. In addition, the first phrase contains a dissonance so harsh that later editors believed it was a mistake and changed it; however, there is no doubt that Haydn really wanted an F-natural in the first violin against an F-sharp in the second! The serio mood continues even in the central Trio section in spite of the switch to a major key.
The slow movement is much more than a respite, which may be its function in other quartets; here Haydn gives us an extended instrumental aria, with a development section that is no less complex than that of the "Allegro." The first violin and the cello alternate as leaders, yet there is also an important viola solo, of which there are not many in the early quartets.
The last movement resembles the first in that in both the music follows an utterly unpredictable course with asymmetrical phrases, sudden interruptions, and unusual modulations. At this point, these devices produce not only storm and stress" but, as Hans Keller noted in his book The Great Haydn Quartets, also introduce "an
element of playfulness...profound and pure wit now gains the upper hand." Yet the ending is more mysterious than humorous with its subdued pianissimo, although, somewhat like the famous "Joke" at the end of the E-flat Major Quartet (Op. 33, No. 2), it plays with our expectations of closure and the last note catches us completely off guard.
String Quartet in a minor. Op. 13 (1827) Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig
Snapshot of History... In 1827:
Beethoven dies on March 26
Alessandro Manzoni's novel The Betrothed, a landmark of Italian literature, is published
Slavery is abolished in New York State
Eugene Delacroix paints one of his greatest canvases. The Death of Sardanapalus
Friedrich Wohler isolates aluminum for the first time
Few composers in the 1820s were more familiar with Beethoven's recent works than was Mendelssohn. At a time when Hummel, Clementi, and Spohr were at the height of their fame, not everyone recognized that Beethoven dwarfed all of them; yet in Mendelssohn's eyes, Beethoven reigned supreme as the most important composer of the time. The String Quartet in a minor, written the year of Beethoven's death, shows how up-to-date the 18-year-old master was. This work makes some unmistakable allusions to Beethoven's quartet in the same key (Op. 132), published only that same year (and written two years earlier). The allusion occurs in the "Allegro vivace" section of the first movement, audibly modeled on the analogous passage in the Beethoven quartet.
But Mendelssohn made other allusions in this piece as well, most notably to one of his own works: a short song called Frage (Question). The question 1st es wahr (Is it true) appears in the "Adagio" introduction to the quartet--reminding those familiar with the late Beethoven quartets of the Muss es sein (Must it be) motto of Op. 135. This theme frames the entire work, as it reappears at the very end of the last movement.
In between, there is, first of all, a fiery and tempestuous fast movement; its coda is particularly
dramatic, ending on a declamatory formula straight out of an operatic recitative, delivered with great passion by the first violin. The second movement begins like a "song without words"-to borrow the name Mendelssohn would give later to his celebrated series of short piano pieces. Yet in the quartet, songfulness soon yields to an intense contrapuntal development that erupts in an animated middle section. A meter change (from 34 to 44) accompanies a change in mood from introspection to exuberant self-expression. In symmetrical fashion, the contrapuntal music returns, followed by a recapitulation of the "song without words." The movement thus ends in the same lyrical manner in which it began.
The third movementisan "intermezzo" opening with a gentle melody in a comfortable "Allegretto con moto" tempo that is soon changed to a much faster "Allegro di molto" for a playful episode in contrapuntal style. This episode fulfills the function of a "trio" or middle section, but unlike most trios, it is longer and more substantial than the opening "main" section. That main section eventually returns, but the material of the "trio" doesn't quite go away; both themes are heard together in the movement's coda.
The finale begins with the same dramatic recitative with which the first movement ended. This time it leads into an "aria"--a melodic theme of great emotional intensity. As the movement continues, several elements of previous movements reappear: first the "Beethovenian" passage from the first movement, then the contrapuntal idea from the second, and finally (as mentioned before), the opening of the "Is it true" motto. Periodically, the recitative style returns as well, momentarily interrupting the melodic flow, which then continues with even more energy than before, until the arrival of the final "Adagio."
The slow ending and the large number of thematic links between the movements are both highly unusual structural features, which are particularly surprising from a composer whose style is often (mistakenly) labeled as conservative. In fact, Mendelssohn was engaged in some rather daring structural experiments here. Op 13 was, incidentally, his first string quartet, even though it is sometimes referred to as No. 2. (The official No. 1, which was the first to be published, is the E-flat Major work that received the opus number 12; it was written two years after the present composition.)
String Quartet in d minor. Op. 56
"Voces intimae" (1908-09) Jean Sibelius
Born December 8, 1865 in Hameenlinna, Finland Died September 20, 1957 in Jarvenpaa
Snapshot of History... In 1909:
The NAACP (National Association for the Advancement of Colored People) is founded
Richard Strauss's opera Elektra is first performed
Rachmaninoff's Piano Concerto No. 3 is first performed
Jack London's novel Martin Eden is published
Louis Bleriot crosses the English Channel by airplane
When a composer, known mainly for his orchestral music--symphonies and tone poems--turns to the medium of the string quartet to write the only major chamber work of his maturity, he must have a very profound reason to do so. Sibelius was going through a major personal and artistic crisis upon reaching his mid-40s. The universally celebrated national treasure of the Finns, the recipient of a state pension that allowed him to devote himself exclusively to composition, he was growing increasingly uncomfortable in his role as an icon, and was increasingly dissatisfied with the lush Romanticism of his early works. As he was searching for new forms of expression, he naturally turned to a genre to which he hadn't contributed in 20 years, a genre that brought back fond early memories of playing chamber music as a violinist and that, at the same time, was more introspective than symphonic composition could ever be. (Yet, as we shall see, the work shows many signs of the composer's predominantly orchestral orientation.) Should there be any doubts about Sibelius's intentions of writing an emphatically private work, the composer dispelled them by the programmatic title Voces intimae (Intimate Voices). He penciled those words in the score, over three striking pianissimo chords in the slow movement that seemingly come out of nowhere, in a key unrelated to the preceding music. The directness and immediacy of this gesture were rather new in Sibelius's music. This "Adagio," which occupies the central position in the five-movement quartet, is the longest movement and, indeed, the heart of the work. It is preceded by, as Sibelius once
said, a first movement and a "first-and-a-half" movement--a very short "Vivace" with no break before it. After the slow movement comes a more substantial scherzo and a dance finale.
All this sounds more or less like a classical string quartet(exceptforthe "half-movement"), but there is little that is classical about the themes and their development. In characteristically Sibelian fashion, the boundaries between thematic areas are blurred rather than clear-cut. Perhaps not surprisingly, the quartet writing tends to be more "orchestral" than chamber-music-like in that the emphasis is less on the independence of the individual voices than on block-like textures in which all four voices play the same rhythms--either simultaneous fast runs or massive chordal sonorities. Statements are often interrupted by general rests where all four voices fall silent at the same time, or by startlingly new, and apparently unrelated material.
The first movement grows out of a brief unaccompanied dialog between the first violin and the cello, in which commentators have detected the influence of Finnish folk music. Traces of folk music may be found in the other movements as well. In the "Adagio," the dance-like motif of the second movement is transformed into a profound lyrical melody. This is expansively developed and brought to a searing climax, which then is followed by a subdued coda. In the latter, the "intimate voices"--the three soft chords in an unrelated key--are reiterated, confronting us with the same mystery for a second time.
Thefourth movement combinesa foot-stomping dance in heavy accents with a more fluid theme flowing over an extremely agile accompaniment. One element of the first theme--a descending fifth--later takes on a life of its own, and becomes the basis for a whole new section. After a spirited development of all the themes, the movement ends with a major burst of energy.
Tonally and texturally, the finale is perhaps the most diverse movement of the quartet. It proceeds from an exuberant dance-fantasy (with echoes of the last movement of Beethoven's Symphony No. 7) to a wild perpetual motion, suddenly interrupted (more interruptions!) by an eerie passage with tremolos (rapid note repetitions) played sul tasto (with the bow on the fingerboard). The dance theme becomes even more excited when it returns, before the work reaches its highly dramatic conclusion.
Program notes by Peter Laki.
Tetzlaff Quartet
he Tetzlaff Quartet have rapidly established a reputation as "one of the world's most fascinating chamber ensembles" (Florenz, La Nazione). Discovering a mutual devotion to chamber music, Christian and Tanja Tetzlaff, Hanna Weinmeister, and Elisabeth Kufferath formed their string quartet in 1994. Since then, the four musicians play several chamber music evenings every season for which they have received impressive critical acclaim.
The Tetzlaff Quartet freq uently g ives concerts not only in Germany, but also in France, Italy, Belgium, Switzerland, Great Britain, and the US. Recently, the quartet has performed at the Auditorium du Louvre in Paris, at the Societe Philharmonique of Brussels, at Vienna's Musikverein, and at the Concertgebouw Amsterdam. The ensemble is a welcome guest at international festivals including the Berliner Festwochen, Schleswig-Holstein Music Festival, and Bremen Musikfest. Their first recording on the CAvi label (distributed by Independent Allegro Media Group in the US) features works by Schoenberg and Sibelius and was released in September 2010.
UMS Archives
onight marks violinist Christian Tetzlaff's fourth concert appearance under UMS auspices. Mr. Tetzlaff made his UMS debut in February 2000 in a recital of the solo violin works of J.S. Bach at St. Francis of Assisi Catholic Church. He most recently appeared as soloist with the San Francisco Symphony in March 2010 at Hill Auditorium under the baton of Maestro Michael Tilson Thomas.
UMS welcomes the Tetzlaff Quartet who make their UMS debut this evening.
ums University Musical Society
Tony Allen's Secret Agent
with special guest Amp Fiddler, Keyboards
Tony Allen Band
Tony Allen, Drums and Vocals
Cesar Anot, Bass
Kologbo, Guitar
Claude Dibongue, Guitar
Albert Leusink, Trumpet
Paul Carlon, Tenor Saxophone
Dimitri Moderbacher, Baritone Saxophone
Saturday Evening, April 16, 2011 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced from the stage by the artists and will be performed without intermission.
66th Performance of the 132nd Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is supported by Comerica.
Media partnership is provided by WEMU 89.1 FM, Michigan Chronicle, and Ann Arbor's 107one.
Special thanks to the United African Community Organization and Dark Matter for their support of and participation in events surrounding tonight's concert.
Tony Allen appears by arrangement with Mondo Mundo Agency, LLC.
Large print programs are available upon request.
rguably the greatest drummer on earth, Tony Allen is quite simply, the man who put the "beat" into Afrobeat.
Born in Lagos, Nigeria, in 1940, of mixed Nigerian and Ghanaian parentage, Tony Allen taught himself to play by listening to records made by the American jazz drummers Art Blakey and Max Roach. He began working as a professional musician in 1960, gigging around Lagos and variously playing highlife and jazz.
For 15 years, as drummer and musical director of Fela Anikulapo Kuti's band Africa 70, Mr. Allen recorded over 30 albums with Fela Anikulapo Kuti-many considered to be Fela's best works including Shakara, Zombie, Confusion, and Expensive Shit.
Currently residing in Paris, Mr. Allen has long been acknowledged as Africa's finest kit drummer and one of its most influential musicians, the man
who with Fela created Afrobeat--the hard driving, James Brown funk-infused, and politically engaged style which became such a dominant force in African music and whose influence continues to spread today.
Tony Allen's own recordings, made since leaving Fela's band in 1978, are diverse in style and fascinating fusions of Afrobeat with other styles of world popular music. His recent work also includes the Good, the Bad & the Queen, a collaboration with Damon Albarn, and an album collaboration with Jimi Tenor in 2009 which whips up a raw, heavy analogue sound mixing the full range of Allen's Afrobeat repertoire with Tenor's off-kilter brew of dark humor, tongue-in-cheek lyrics, and tight, firing musicianship.
Tonight's concert marks Tony Allen's UMS debut.
"Perhaps the greatest drummer who has ever lived."
-Brian Eno
Songs and Waltzes of Love
Sylvia Schwartz, Soprano Bernarda Fink, Mezzo-soprano Michael Schade, Tenor Thomas Quasthoff, Bass-baritone
Malcolm Martineau, Piano Justus Zeyen, Piano
betcol Program
Saturday Evening, April 23, 2011 at 8:00 Hill Auditorium Ann Arbor
@@@@Robert Schumann
Johannes Brahms
Spanische Liebeslieder, Op. 138
Vorspiel (for Piano four-hands)
Tief im Herzen trag' ich Pein
0 wie lieblich ist das Madchen
Bedeckt mich mit Blumen
Flutenreicher Ebro
Intermezzo: Nationaltanz (for Piano four-hands)
Weh, wie zornig ist das Madchen
Hoch, hoch sind die Berge
Blaue Augen hat das Madchen
Dunkler Lichtglanz, blinder Blick
Liebeslieder-Walzer, Op. 52
Rede, Madchen, allzu liebes
Am Gesteine rauscht die Flut
0 die Frauen
Wie des Abends schone Rote
Die grune Hopfenranke
Ein kleiner, hubscher Vogel
Wohl schon bewandt
Wenn so lind dein Auge mir
Am Donaustrande, da steht ein Haus
0 wie sanft die Quelle sich
Nein, es ist nicht auszukommen
Schlosser auf I und mache Schlosser
Vogelein durchrauscht die Luft
Sieh, wie ist die Welle klar
Nachtigall, sie singt so schon
Ein dunkeler Schacht ist Liebe
Nicht wandle, mein Licht
Es bebet das Gestrauche
Four Quartets for Four Voices and Piano
An die Heimat, Op. 64, No. 1 Der Abend, Op. 64, No. 2 O scheme Nacht, Op. 92, No. 1 Abendlied, Op. 92, No. 3
Mr. Zeyen, Piano
Neue Liebeslieder, Op. 65, Nos. 1-15
Verzicht, o Herz, auf Rettung
Finstere Schatten der Nacht
An jeder Hand die Finger
Ihr schwarzen Augen
Wahre, wahre deinen Sohn
Rosen steckt mir an die Mutter
Vom Gebirge, Well' auf Well'
Weiche Graser im Revier
Nagen am Herzen
Ich kose suB mit der und der
Alles, alles in den Wind
Schwarzer Wald, dein Schatten ist so duster!
Nein, Geliebter, setze dich
Flammenauge, dunkles Haar
Zum Schluss: Nun, ihr Musen, genug!
Please withhold applause until the end of each set of songs throughout this evening's program.
67th Performance of the 132nd Annual Season
132nd Annual Choral Union Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by the H. Gardner and Bonnie Ackley Endowment Fund.
Media partnership is provided by WGTE 91.3 FM.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's concert.
The artists featured in tonight's program appear by arrangement with CM Artists New York, NY, and Dr. Raab and Dr. Bohm Kiinstleragentur, GmbH.
Large print programs are available upon request.
Now that you're in your seat...
ausmusik. What a lost treasure is this world of entertainment made at home by educated, talented, inspired, but amateur performers! Tonight's program features this genre of vocal and piano chamber music exclusively. It is clear that Schumann and Brahms knew their audiences and their customers well. For every 19th-century family--middle or upper-class--music lessons were de rigueur, and a certain level of accomplishment was expected, be it vocal or pianistic. This is not to suggest that the works heard tonight are undemanding or can be tossed off casually, only to emphasize the place communal music-making had in the fabric of domestic life of the time. Without television or radio--not to mention the Internet--reading and music were an evening's chief occupation. As the themes of love, courting, and flirtation predominated, one's singing ability or pianistic fluency increased one's eligibility many times over. Both of tonight's composers were thinking practically, but we are the lucky recipients of these masterful examples of house music, as if only artistic inspiration created them. Tonight, their beauty and sophisticated elegance are brought to life for us by professionals, and as such, one genre has evolved into another; yet as we listen to these charming works, we can easily imagine their origins: the family around the piano, perhaps a would-be suitor among them, eager to impress and curry favor, two pianists sharing a single keyboard, hands grazing each other more than occasionally, increasing the warm gemutlichkeit of the evening.
In 1846, Schumann moved from Leipzig to Dresden, seeking a calmer, less eventful, dramatic life. He was intent on finishing his opera Genoveva in a peaceful atmosphere and was fascinated at the time with choral music as well. His fits of melancholia were subsiding, and the succeeding six years proved to be his most productive since his year of song in 1840. Two trios, the Fantasy Pieces for clarinet, the Manfred overture, and pieces for cello and horn flew from his pen in these few years. Early in 1849, Schumann turned to Geibel's translations of Spanish poems for the first time and crafted the Spanish Liederspiel. This first work for vocal quartet and piano was successful enough, particularly in Clara's opinion, that by the end of the same year, Schumann followed it with the work heard tonight, the Spanish Lovesongs. The only change in personnel was the addition of a second pianist to share the single keyboard. The structure of the opus is interesting: each singer has a solo (the tenor has two), the pianists have two solo turns, along with two vocal duets and finally a quartet with all the participants as a finale. Thus there is inherent variety throughout the 10 movements.
For all our enjoyment, it must be said, however, that no German or Austrian composer seems to capture the Spanish idiom very authentically.
Schumann labels the opening movement "Bolero" but only the 34 time signature justifies the title. Hugo Wolf devoted more than a year to his Spanish Songbook, containing many of the same poems which Schumann uses in tonight's Lovesongs, but as noted Lieder scholar Eric Sams is forced to conclude: "The Spanish cloak does not sit well on German shoulders." We can hear the vague plucking of guitars, enthusiastic dance rhythms, and in the texts the straightforward passion we associate with Mediterranean amorous lyrics, but little else which is truly Spanish. French composers seem to imitate other cultures far better. Consider Bizet's Carmen or Lalo's Symphonie Espagnole. Nevertheless, Schumann's music--be it truly Spanish or not--is infectious and diverting. This opus deserves to be heard more often, whatever it intends to evoke.
Brahms' involvement with the Schumann family is well known. At the time Schumann was composing the Spanish opus, Brahms was vacationing only a few miles away. He was well aware of the selection of vocal quartet and piano four-hand duet which his colleague had selected, and 20 years later he employed the same forces for his first opus of Liebeslieder waltzes. While the means are the same, Brahms eschewed evoking a foreign culture,
and turned instead to verses by his poet and friend, Georg Daumer. The composer had already penned two dozen solo songs to Daumer's poetry with considerable success.
Brahms is often maligned for choosing inferior or overly-sentimental poems as fodder for his vocal music. There are very few Brahms songs using the giants of his day: Heine, Eichendorff, or Goethe. But Brahms was adamant: he required words which needed music, never those which could stand on their own. We can remember that Goethe detested Schubert's settings of his poems. In Daumer's love lyrics, Brahms found the perfect fodder for his lovesong waltzes. These texts have an inherent lilt and charm which conjure Viennese charm and courtship from the first syllable.
This first set of Liebeslieder waltzes, composed in 1868-69, are 18 in number, with only two solos, one each for alto and tenor. As the title would imply, every number is in 34 waltz time, but Brahms' genius prevents any monotony from being felt. A similar feat is to be appreciated in Sondheim's A Little Night Music, a 20th-century piece also entirely in triple meter and yet full of variety. Variety and contrast can be strategized, and to this end Brahms deploys his four voices differently in each lovesong; tempos vary widely, major and minor modes alternate continually, and thus our attention and delight never cease.
An interesting side note to the publishing of this first set of waltzes was the struggle between Brahms and his publisher. Originally, Brahms stipulated waltzes for four-hand piano duet with incidental vocal quartet. The vocal parts were to be printed in much smaller type, and with a clear designation of "ad lib." Thus, people at home making Hausmusik could simply play the four-hand piano part or add the voice part if they wished. The original edition features the voice parts in tiny print, clearly an option not a necessity. We would not think of performing them in such a manner today, nor would Brahms sanction publishing them without the voice parts.
The vocal quartets of Brahms are a completely different genre from the waltzes discussed above. There are enough quartets to fill five opus numbers, and while they are no less beautiful than the waltzes, they are on far more serious subjects, and do not evoke any waltz feeling although they are often in triple meter. These are sophisticated,
highly intelligent works, where simple and charming entertainment is not the point.
Using only one pianist, this opus can easily be considered chamber music with voices instead of instruments. They are sometimes performed with choir, but tonight we hear them in their original and intended form--the solo vocal quartet, and certainly not adlib! Again, Brahms' poets for these quartets are not famous names; without Brahms we would never have heard of them, but the yearning and celebration of the homeland in these texts is clearly captured by the composer.
Six years after his first set of Liebeslieder waltzes, Brahms created the second set for the same forces. The first set had been wildly successful with the public, so why not deliver another opus He turned again to his friend, Daumer, for lyrics for 14 of the 15 pieces in this opus. The piano writing is far more complex here and the vocal demands far more beyond the reach of the average amateur. Clearly, we are moving away from the standard technical demands of Hausmusik, and yet the warmth and family feeling remain.
Brahms' includes far more solo songs in this opus than in the first of the lovesongs; of the 15, no less than four are for soprano, with additionally one each for alto, tenor and baritone. This is a very different sound and arrangement from the first set.
To conclude this opus, Brahms chooses Goethe uncharacteristically for a final song. Technically not in waltz meter--it is in 94--this 15th song speaks of elevated subjects: the muses, God, work, and life, rather than flirting between the sexes. It is clearly an epilogue to both sets of waltzes, and is in itself no waltz, be it in three or not. The seriousness and lofty quality of Goethe's words has here engendered far less charming writing from Brahms, and it must be noted that the key of this final selection is the same key as the opening and closing of Brahms' Requiem. This cannot be an accident. Instead of waltzing out of our presence, the composer becomes serious and has penned a Thanksgiving anthem to both sets of waltzes, and to creativity itself.
Program notes by Martin Katz.
ylvia Schwartz is fast becoming one of the most exciting lyric sopranos of her generation.
Ms. Schwartz has appeared at many of the finest opera houses and festivals including La Scala Milan, Deutsche Staatsoper Berlin, Vienna State Opera, Munich State Opera, The Bolshoi Theatre, Theatre du Chatelet Paris, and the Edinburgh International Festival, Maggio Musicale Fiorentino, Baden Baden Festival, and the Verbier International Festival.
From 2005, Ms. Schwartz has been a member of the ensemble of the Deutsche Staatsoper Berlin where her performance highlights have included Susanna (Le nozze di Figaro), Pamina (Die Zauberflote), Zerlina (Don Giovanni), Sophie (Der Rosenkavalier), Nannetta (Falstaff), Oscar (Un Ballo in Maschera) and Marzelline (Fidelio) with conductors such as Daniel Barenboim, Philippe Jordan, Rene Jacobs, and Fabio Luisi.
Ms. Schwartz is also much in demand on the concert and recital platform and has worked with pianists such as Wolfram Rieger, Charles Spencer, and Malcolm Martineau; and with conductors Claudio Abbado, Sir Colin Davis, Gustavo Dudamel, Patrick Fournillier, Yves Abel, Jean Christophe Spinosi, Helmuth Rilling, and Christopher Hogwood.
Beginning in the 201011 season, Ms. Schwartz is a member of the Vienna State Opera where her roles are including Susanna (Le nozze di Figaro), Adina (L'elisir D'amore), Morgana (Alcina), Pamina
(DieZauberflote), Sophie (DerRosenkavalier), Zerlina (Don Giovanni), and Despina (Cosi fan tutte).
On the concert platform, Ms. Schwartz will perform recitals with Wolfram Reiger and Malcolm Martineau at Schubertiade Schwarzenberg and at the Wigmore Hall as part of the Decade by Decade series in addition to her current US tour.
Sylvia Schwartz is a graduate of the Escuela Superior de Canto in Madrid and was a postgraduate student at the Hanns Eisler Conservatory in Berlin under Wolfram Rieger, Thomas Quasthoff, and Julia Varady, where she won a Hezekiah Wardwell-Stipendium from the Alexander von Humboldt Foundation.
ernarda Fink, daughter of Slovenian parents, was born in Buenos Aires, Argentina, and received her vocal and musical education at the Instituto Superior de Arte del Teatro Colon where she used to perform frequently.
Acclaimed for her musical versatality, Ms. Fink's repertoire ranges from ancient music through music of the 20th century. She frequently appears with orchestras including the Wiener Philharmoniker, Berliner Philharmoniker, Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, London Philharmonic, Czech Philharmonic, Chamber Orchestra of Europe, Staatskapelle Dresden, the Cleveland Orchestra, as well as with Baroque Orchestras under conductors as Herbert Blomstedt, Semyon Bychkov, Sir Colin Davis, Sir John Eliot Gardiner, Valery Gergiev, Nikolaus Harnoncourt, Rene Jacobs, Mariss Jansons, Riccardo Muti, Sir Roger Norrington, Trevor Pinnock, Georges Pretre, Sir Simon Rattle, Jukka Pekka Saraste, and Franz Welser-Most.
Ms. Fink has appeared to wide critical acclaim in Argentina and at the main opera houses of Europe. Most recently she performed the roles of Cecilio (Lutio Silla) led by Nikolaus Harnoncourt at the Theater an der Wien, Idamante (Idomeneo) in a new production of Luc Bondy and Jesus Lopez Cobos at the Teatro Real in Madrid, and Irene (Theodora) under Ivor Bolton at the Salzburg Festival. She further sang Sesto (La Clemenza di Tito) and Idamante in concert versions under the baton of Rene Jacobs which both were recorded and highly awarded.
Ms. Fink regularly appears in recital at the Wiener Musikverein and Konzerthaus, Schubertiade Schwarzenberg, Concertgebouw
ums University Musical Society
Sylvia Schwartz
Amsterdam, the Wigmore Hall in London, and in Buenos Aires. In the 201011 season she appears in Kempen, Maribor, and Imola. Furthermore she appears with the Hugo Wolf Quartet in Bilbao, Nijmegen, and Antwerp.
Among her highlights of the current and the next season are Pergolesi's Stabat Mater with the Berliner Barock Solisten in Lucerne, Mendelssohn's Elias with Daniel Harding in Lucerne, Bremen, and Stockholm (to be recorded for DG), and Mahler's Symphony No. 2 with the Symphonieorchester des Bayerischen Rundfunks, Bach's Mass in b minor with Nikolaus Harnoncourt at the Vienna Musikverein, and in Tokyo, Brahms' Alto Rhapsody with the Bamberger Symphoniker.
Ms. Fink has made numerous highly acclaimed recordings. Her discography embraces almost 50 releases, many of which have been awarded prizes such as the Diapason d'Or and the Grammy Award. She enjoys a close collaboration with Harmonia Mundi, of which the most recent recordings include Lieder by Schubert with accompanist Gerald Huber, Bach Cantatas with the Freiburger Barockorchester and Lieder by Schumann with accompanist Anthony Spiri. Pergolesi's Stabat Mater with the Akademie fur Alte Musik Berlin was recently released in fall 2010. Her next solo recording will be a program with Lieder by Slovenian composers and is planned to be released this spring.
In February 2006 Bernarda Fink was awarded the Austrian Honorary Medal for Art and Science by the Austrian chancelor.
ailed as "the world's leading Mozart tenor" German-Canadian Michael Schade performs in all of the leading Opera houses. His art form embraces a wide repertoire of performances in opera, recital, concert, and recording.
His close collaboration with the Vienna Staatsoper continues in the current season. At the Staatsoper Mr. Schade has performed all of the leading Mozart roles; in addition he has performed extensively in the bel canto repertoire. Recent successes for Mr. Schade have included Mozart's Idomeneo as well as Strauss' Arabella and Capriccio with Renee Fleming. Opera reclaimed him in three new productions; his first Prince in Rusalka at Toronto's COC, as Aschenbach in Britten's Death In Venice at the Hamburg Staatsoper, which awarded Mr. Schade's outstanding performance with the Rolf-Mares-Prize for an exceptional achievement in a leading role. He was featured in the highly acclaimed production of Thais at the Metropolitan Opera with Renee Fleming and Thomas Hampson. Mr. Schade returned to the Met in 2010 for Lulu under Fabio Luisi and sang his first Des Grieux in Manon for Opera Lyra in Ottawa.
At the Salzburg Festival, Mr. Schade appeared 16 consecutive years in new productions of Mozart's La Clemenza di Tito, Purcell's King Arthur, two new productions of Mozart's Zauberflote, Haydn's Armida, and Cherubini's Medee. He was appointed by Jurgen Flimm as the creative director of the Salzburg Young Artists Project for 2008, 2009, and 2011; a yearly program that invites exceptional singers to study under the guidance of the respective responsible person during the festival.
In addition to his opera career, Mr. Schade performs extensively in concert and recital. His immense concert repertoire ranges from Bach's Passions to Mahler's Lied von der Erde, in numerous concerts with the Vienna and the Berlin Philharmonic Orchestras, the Philadelphia and San Francisco Orchestras, the Los Angeles and New York Philharmonic Orchestras, the Cleveland Symphony Orchestra, the Toronto and Montreal Symphony Orchestras, and the Boston Symphony Orchestra under conductors Claudio Abbado, Pierre Boulez, Semyon Bychkov, Christoph von Dohnanyi, Valery Gergiev, Daniel Harding, Mariss Jansons, James Levine, Sir Charles Mackerras, Riccardo Muti, Kent Nagano, Peter Oundjan, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann, Franz Welser-Most, and Simone Young.
ums University Musical Society
Bernarda Fink
Mr. Schade has a close association with Nikolaus Hamoncourt and the Concentus Musicus, also performing under the Maestro with both the Berlin and Vienna Philharmonics. Many of these concerts have been released on CD for Sony BMG. Endeavours of the current season with the Maestro include Bach's Mass in b minor at Vienna's Musikverein and together with Haydn's Schopfung in Japan.
The current season also features Mr. Schade performing recitals in Stuttgart, London, Graz, Zurich, and Schwarzenberg.
A prolific recording artist, Mr. Schade was awarded a Grammy Award in 2002 for Bach's St. Matthew's Passion under Hamoncourt. His recording of Daphne (Decca) with Renee Fleming was nominated for a Grammy in 2005. Mr. Schade has been awarded two Junos: one for Soiree Franqaise and for Mozart: Arie e Duetti, both under Maestro Richard Bradshaw (CBC records). For Mr. Schade's Leukimia foundation, he released a recording of Die Scho'ne Mullerin with Malcolm Martineau (CBC Records). This recording was nominated for a Juno in 2005.
In January 2007, Mr. Schade was appointed Kammersanger by the Austrian government, the first Canadian to receive this honor. Mr. Schade is the artistic director of the Hapag Lloyd Stella Maris International Vocal Competition and served in this position at the Salzburg Young Singer's Project. The Vienna Musikverein named Mr. Schade Artist in Residence with his own subscription series during the 200910 season.
erman bass-baritone Thomas Quasthoff is recognized as one of the most remarkable singers of his generation. A frequent guest of both the Berlin and the Vienna Philharmonic Orchestras, he appears regularly with the world's leading orchestras under such renowned conductors as Claudio Abbado, Daniel Barenboim, Bernard Haitink, Mariss Jansons, Kurt Masur, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann, and Franz Welser-Most.
Mr. Quasthoff's debut in 1995 at the Oregon Bach Festival laid the basis for his highly successful career in the US. Having since returned numerous times for appearances with the most important orchestras and festivals, he regularly appears at New York's Carnegie Hall since his outstanding recital debut there in January 1999.
In March 2003 Mr. Quasthoff gave his highly acclaimed opera debut in the role of Don Fernando (Fidelio) with the Berlin Philharmonic under Sir Simon Rattle at the Salzburg Easter Festival. His remarkable debut at the Vienna Staatsoper in the role of Amfortas {Parsifal) under Donald Runnicles followed in spring 2004. In January 2005 he returned to Vienna in the same role to perform under the baton of Sir Simon Rattle.
Thomas Quasthoff has been Artist in Residence at Vienna's Musikverein, Amsterdam Concertgebouw, Carnegie Hall, and Lucerne Festival as well as in Baden-Baden, Hamburg, and at the London Barbican Centre. Engagements of the current season include concerts with Mahler Chamber Orchestra and Daniel Harding performing Mendelssohn's Elias, a tour with his new soulbluesjazz program "Tell It Like It Is," a tour with the Camerata Salzburg, as well as concerts with Freiburg Baroque Orchestra at the Mozartwoche Salzburg. In recital Mr. Quasthoff appears in London with Andras Schiff, at the Salzburg Festival with Pierre-Laurent Aimard, as well as in Prague and Garmisch-Partenkirchen with Charles Spencer.
As of 1999 Mr. Quasthoff has an exclusive recording contract with Deutsche Grammophon. Three of his CDs have received Grammy Awards: Mahler's Lieder aus des Knaben Wunderhorn (together with Anne Sofie von Otter under Claudio Abbado), orchestrated Schubert Lieder (with the Chamber Orchestra of Europe, also under Claudio Abbado), and, in spring 2006, for his Bach Cantatas together with the Berlin Baroque Soloists. His most recent recordings are Italian Arias by Joseph Haydn
Photo Harald Holtmann
Michael Schade
together with the Freiburg Baroque Orchestra and "Tell It Like It Is."
Mr. Quasthoff began his vocal studies with Professor Charlotte Lehmann and Professor Huber-Contwig (musicology) in Hannover, Germany. His national and international music awards include First Prize in the 1988 ARD International Music Competition Munich. Further prizes include the Shostakovich in 1996 (Moscow) and the Hamada TrustScotsman Festival Prize (Edinburgh International Festival, 1996). The artist held a professorship at the vocal department of the Music Academy in Detmold, Germany, since 1996, where he maintained a vigorous teaching schedule, before accepting a new position at the Hanns Eisler Music University in Berlin in the fall of 2004.
For many years, Mr. Quasthoff has dedicated himself to Lied, and it is his deepest desire to preserve this art form. Therefore he has founded a Lied-Competition which started in Berlin in 2009 and takes place every second year.
Mr. Quasthoff received from the President of the German Republic the Order of Merit in 2005. One year later, he was awarded the European Culture Price for Music at the Dresden Frauenkirche. In 2009, Thomas Quasthoff received the Gold Medal of the Royal Philharmonic Society in London as well as the Herbert von Karajan Music award by the Baden-Baden Festspielhaus. Further, he was appointed Osterreichischer Kammersanger by the Austrian government.
alcolm Martineau was born in Edinburgh. He regularly appears with Sir Thomas Allen, Susan Graham, Simon Keenlyside, Magdalena Kozena, Dame Felicity Lott, Thomas Quasthoff, Michael Schade, and Bryn Terfel. He has presented his own series at St. Johns Smith Square (complete songs of Debussy and Poulenc), the Wigmore Hall (a Britten series and a French song series) and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He accompanied in masterclasses at the BrittenPears School, Aldeburgh, for Dame Joan Sutherland, Elisabeth Schwarzkopf, Suzanne Danco, and lleana Cotrubas. His many recordings include Schubert, Schumann, and English song recitals with Bryn Terfel, Schubert and Strauss recitals with Simon Keenlyside, recitals with Angela Gheorghiu, Barbara Bonney and Susan Graham, Magdalena Kozena, and the complete Beethoven Folk Songs and the complete Britten Folk Songs. He was awarded an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004 and appointed International Fellow of Accompaniment in 2009.
PholO Andre Rival
Thomas Quasthoff
Malcolm Martineau
orn in Kiel, Germany, pianist Justus Zeyen studied in Hannover, Germany, with Karl Engel and Bernhardt Ebert. Mr. Zeyen has been a well sought-after pianist, giving concerts in Europe, Japan, and the US, as a soloist as well as a pianist for chamber music, and as an accompanist of singers' recitals. He has worked with artists including Juliane Banse, Dorothea Roschmann, Diana Damrau, Christiane Iven, Sibylla Rubens, Florian Boesch, Siegfried Lorenz, and Michael Schade, and the choirs of the Bayerischer, Mittel-and Suddeutscher Rundfunk. In fall 2010, he toured throughout the US with Measha Bruggergosman. He further has been a guest at various festivals including Berliner Festwochen, Wiener Festwochen, Munich Opera Festival, Schleswig-Holstein Musik Festival, Teatro la Scala in Milan, Theater an der Wien, Schubertiade Schwarzenberg, Mostly Mozart Festival, Tanglewood Music Festival, and the Oregon Bach Festival.
Since their first concerts at the Lockenhaus Chamber Music Festival in 1994 (Gidon Kremer, director), Mr. Zeyen has regularly collaborated with Thomas Quasthoff. They perform at the Berlin Philharmonie, at London's Wigmore Hall, at the Vienna Musikverein and Konzerthaus, Concertgebouw Amsterdam, in Madrid, Barcelona, San Francisco, Boston, Los Angeles, and at New York's Carnegie Hall.
Their recordings for Deutsche Grammophon have received many coveted awards such as the Echo Klassik, Cannes Award, Preis der Deutschen Schallplattenkritik, and Grammy Award nominations.
In addition to concertizing, Justus Zeyen teaches at the music academy in Hannover.
Justus Zeyen
UMS Archives
onight's concert marks both Michael Schade andThomas Quasthoff's second appearances under UMS auspices. Mr. Schade made his UMS debut as tenor soloist with the San Francisco Symphony in February 2002 in a concert performance of Mahler's Das Lied von der Erde under the baton of Michael Tilson Thomas at Hill Auditorium. Mr. Quasthoff made his UMS debut with pianist Justus Zeyen, who also makes his return visit to UMS tonight, in a March 2000 recital at Lydia Mendelssohn Theatre.
Malcolm Martineau also makes his second visit to UMS tonight, following his UMS recital debut with Susan Graham in March 2003 at Lydia Mendelssohn Theatre. UMS welcomes Sylvia Schwartz and Bernarda Fink who make their UMS debuts tonight.
Photo Andrfr Rival

Download PDF