Beethoven’s Missa Solemnis

Ludwig van Beethoven / Composer

Ann Arbor Symphony UMS Choral Union Scott Hanoian / Conductor

Erin Wall / Soprano Kelley O’Connor / Mezzo-soprano Matthew Plenk / Tenor Nathan Stark / Bass

Saturday Evening, March 11, 2017 at 8:00 Hill Auditorium Ann Arbor

45th Performance of the 138th Annual Season Choral/Vocal Series Tonight’s presenting sponsor is the Jerry Blackstone UMS Choral Union Performance Fund. Media partnership provided by WRCJ 90.9 FM. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Ludwig van Beethoven Missa Solemnis in D Major, Op. 123

Kyrie Gloria Benedictus Agnus Dei

This evening’s program will be performed without intermission.

3 MISSA SOLEMNIS IN D MAJOR, OP. 123 (1822–23)

Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna

UMS premiere: Chicago Symphony Orchestra and the UMS Choral Union conducted by Frederick Stock with soprano Elsie Baker, mezzo-soprano Betsy Lane Shepard, tenor Arthur Hackett, and bass William Simmons; May 1927 in Hill Auditorium.

Snapshots of History…In 1823: · The congress of Central America declares absolute independence from Spain, Mexico, and any other foreign nation including North America, and a republican system of government is established · The Goals Act is passed by the Parliament of the United Kingdom, based on the prison reform campaign of Elizabeth Fry · Simón Bolívar is named President of Peru

Hearing the Missa Solemnis is always successful. The composer keenly felt an extraordinary experience — and that he had yet to reach the summit of the enormous difficulty of the score his art in the realm of church music. guarantees that live encounters will It was an external circumstance that never be too frequent. This work provided the initial impulse for what shows what can happen when a turned out to be one of the crowning genius consciously decides to outdo masterpieces of Beethoven’s later himself in an all-encompassing work years. The composer’s favorite pupil, that expresses profound spirituality the Archduke Rudolph (the younger and realizes a musical vision never brother of Emperor Franz I), was going previously conceived. to become Archbishop of Olmütz Beethoven, though raised as a (now Olomouc, Czech Republic), and Roman Catholic, was not a regular the solemn Mass had been intended churchgoer. Yet of course he was for performance at the installation familiar with the liturgy, and considered ceremony. But Beethoven missed the writing sacred music to be the highest deadline; in fact, the Mass wasn’t goal to which a composer could aspire. finished until two years after the event He admired Handel’s Messiah, Haydn’s it was originally meant to celebrate. masses and oratorios and, above all, Once this extraordinary Mass was Mozart’s Requiem, but he himself had completed, Beethoven wanted to milk attempted religious composition only it for all it was worth: he conducted twice in his entire life. However, neither parallel negotiations with several the oratorio Christ on the Mount of publishers, breaking promises and Olives (1803) nor the Mass in C (1807) going behind the back of one firm to could be said to have been particularly get a better deal with another. The

4 full score was finally printed by Schott the heart: may it reach the heart.” in Mainz, but not until 1827, the year Musically, this fervent wish finds of Beethoven’s death. In 1823, the expression in the fact that most of composer had taken subscription the themes in the work are not based orders to have manuscript copies on song-like, symmetrical phrases prepared expressly for some of his but are, instead, short, gesture-like most influential admirers — including utterances. The setting of the opening Prince Nikolai Galitzin, for whom he word of the Mass, “” (Lord), had also written three of his late string sung on a single repeated note by quartets. It was Galitzin who arranged the chorus, is a good example for for the world premiere, which took this eminently dramatic approach to place in St. Petersburg in April 1824. the text. It is only after the tone has In Vienna, only three of the five been set by these powerful single movements were ever heard during chords that a gentler melodic figure is Beethoven’s lifetime. introduced on “eleison” (have mercy). During the last decade of his life, The isolated gestures contrast with a Beethoven experienced a kind of more continuous melodic flow in the spiritual awakening. In the Missa “Christe,” begun by the four soloists; solemnis, he wanted to communicate the sustained motion is generated by that experience to the world; as he polyphonic imitation. wrote in a letter, “My chief aim was The “Gloria” and “Credo” to awaken and permanently instill movements always present a special religious feelings not only in the challenge because of the great singers but also in the listeners.” In length of their texts. Many composers order to achieve this aim, Beethoven have broken up these texts into held nothing back. The vocal parts several independent movements (not only those of the soloists but to make them more manageable, the chorus as well) are fiendishly but Beethoven opted for a single difficult; harmonically and structurally, uninterrupted musical statement, Beethoven’s music was never more unified by a recapitulation of the complex than here. Yet, listening to opening “Gloria” theme at the very the Missa, one understands that it end, and of the “Credo” theme less would not have been enough to numerous times throughout that transmit the composer’s vision to the movement. In between those motivic audience. A fiercely individual free restatements, we have a wide variety thinker grappling with the mysteries of motifs in different keys, tempos, of God, death, and afterlife — the and orchestrations, as dictated stakes have never been higher in a by the emotional content of the piece of music, and the composer individual words and lines. Starting had to make use of every expressive and ending with an ecstatic praise means at his disposal. of God, the “Gloria” passes through This insistence on communication some moments of introspection: after (or communion) with the audience the words “Gratias agimus tibi,” the is apparent from the inscription on initial exuberance gives way to more the first page of the score: “From subdued feelings, as the solemn

5 proclamation about God is followed centers around a slow middle section by a direct address of God (“We give which, in this case, begins with the you thanks”). After a brief return to words “Et incarnatus est” (And He the original “Gloria” mood, we reach became incarnate). The birdsong- the heart of the movement with like high trills of the flute during this “Qui tollis” (You who take away the section depict the Holy Spirit, often sins of the world), where the tempo represented in paintings as a dove. drops to larghetto and the quartet The “homo” in “Homo factus est” (he of soloists intones an intimate plea was made man) once again receives for mercy. With “Quoniam” (For you special treatment, before we reach alone are holy), private prayer once the most tragic part of the movement again changes to public worship. with the mention of crucifixion. Tradition demanded that the “Gloria” The musical image of resurrection, movement end with a fugue, but in immediately following, maximizes the present case, the music takes a dramatic contrast and leads directly dramatic turn when, after an emphatic to the recapitulation, inevitable here restatement of the theme in slow because of the reappearance of motion (augmentation, to use the the word “Credo” in the text. Here technical term), the excitement Beethoven rather quickly passes over reaches fever pitch as the tempo a few articles of faith (especially the suddenly increases. It is at the reference to the Holy Catholic and climactic moment of this development Apostolic Church) to arrive at another that the theme from the beginning major choral fugue on the words “Et of the movement returns (in a faster vitam venturi saeculi” (And to life ever tempo than the first time), closing after). The fugue culminates in an the circle at the end of a fascinating extremely elaborate treatment of the spiritual journey. word “Amen,” including a cadenza for The next movement, the “Credo,” the four solo singers resembling an is another spiritual journey, even analogous moment near the end of more complex than the “Gloria.” The the Ninth Symphony. dogmas of the Catholic Church as To Beethoven, the “Sanctus,” codified in the Nicene Creed from the the solemn proclamation of God’s year 325 never lent themselves easily holiness, was not a matter of to musical treatment. Beethoven set exuberant fanfares; he approached the first word, “Credo” (I believe) to it instead like a mystery, with a short and pithy motif that serves some rather unusual harmonic as the glue holding the entire progressions and a choral recitative movement together. From the start, where the singers seem almost the “I” receives at least as much tongue-tied in their awe before the emphasis as the “believe.” At the incomprehensible. Then, at “Pleni words “qui propter nos homines” (who sunt coeli et terra gloria tua” (Heaven for us humans), the music suddenly and earth are full of your glory), turns gentle and lyrical to illustrate a true celebration begins. After a the descent from heaven to earth. brief, ecstatic “Osanna,” we come As with the “Gloria,” the “Credo” to another moment of introspection,

6 perhaps the most powerful of all: soloists sounds positively “anxious” the celebrated “Benedictus,” with (ängstlich), according to Beethoven’s its famous violin solo. This exquisite instruction in the score. The second movement is introduced by a dark and time (following an extended orchestral subdued orchestral preludium after interlude), the noises of war provoke which the violin solo enters, on a high a terrified response from the entire note, “like a ray of light,” to quote chorus, and the Dona nobis pacem musicologist William Kinderman’s sounds less like a plea than a formulation from his insightful demand. The work concludes with Beethoven monograph. After so many a restatement of the great “peace” harmonically complex passages theme, but the menacing drum-rolls earlier in the Mass, the pure G Major persist almost to the very end. In the sonorities of the “Benedictus” are words of William Kinderman, “The end a perfect expression of the solace of the Mass is left ambiguous, since a brought to the world by the arrival of prayer for peace is far from being its “Him who comes in the name of the fulfillment. In theMissa Solemnis the Lord.” Following the “Benedictus,” ultimate goal for human aspiration is the liturgy calls for a repeat of the located in a transcendental quest.” Let “Osanna,” but contrary to traditional us hope that some day, this quest will usage, Beethoven did not repeat the bring us the “inner and outer peace” ecstatic music of the first “Osanna.” for which Beethoven prayed. Instead, unwilling to break the spell cast by the “Benedictus,” he kept its Program note by Peter Laki. tempo and character all the way to the end. The monumental work is crowned by the “Agnus Dei,” starting out as a gentle supplication for mercy but turning into something quite different. Opening with a bass solo in the lowest register of the low male voice, Beethoven gradually brings in all the voices and finally, at the words “Dona nobis pacem” (Grant us peace), introduces one of the most memorable melodies of the entire composition. (At this point, Beethoven wrote into the score: “An appeal for inner and outer peace.”) But our tribulations are not quite over yet. To place his vision of peace into sharper relief, Beethoven twice conjures up images of war. An ominous drumroll and distant calls threaten that vision, and the recitative of the

7 TEXTS AND TRANSLATIONS

Kyrie Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Gloria . Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on earth peace to people of good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. we worship you, we glorify you. Gratias agimus tibi We give you thanks propter magnam gloriam tuam. for your great glory. Domine Deus, Rex coelestis, Lord God, heavenly King, Deus pater omnipotens. God, Father omnipotent. Domine Fili unigenite, Lord, the only-begotten Son, Jesu Christe. Jesus Christ most high. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father.

Qui tollis peccata mundi, You who take away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, You who take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dextram Patris, You who sit at the right hand of the Father, miserere nobis! have mercy upon us.

Quoniam tu solus sanctus, For you alone are holy, tu solus Dominus, you alone are the Lord, tu solus altissimus, Jesu Christe. you alone most high, Jesus Christ. Cum Sancto Spiritu With the Holy Spirit, in gloria Dei Patris, amen. in the glory of God the Father. Amen.

8 Credo Credo in unum Deum, I believe in one God, patrem omnipotentem, Father Almighty, factorem coeli et terrae, Maker of heaven and earth, visibilium omnium et invisibilium. of all things visible and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the only-begotten Son of God, et ex Patre natum ante omnia saecula, born of the Father before all ages, Deum de Deo, God of God, lumen de lumine, light of light, Deum verum de Deo vero, true God of true God, genitum, non factum, begotten, not made, consubstantialem Patri, being of one substance with the Father, per quem omnia facta sunt, by whom all things were made. qui propter nos homines Who for all humanity, et propter nostram salutem and for our salvation, descendit de coelis. came down from heaven.

Et incarnatus est And became incarnate de Spiritu Sancto by the Holy Spirit ex Maria Virgine, of the Virgin Mary et homo factus est. and was made a man. Crucifixus etiam pro nobis He was also crucified for us sub Pontio Pilato, under Pontius Pilate, passus et sepultus est. suffered, and was buried.

Et resurrexit tertia die And on the third day he rose again, secundum scipturas, according to the scriptures, et ascendit in coelum, and ascended into heaven, sedet ad dexteram Patris, and sits at the right hand of the Father, et iterum venturus est cum gloria and he shall come again with glory judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. whose kingdom shall have no end.

Et in Spiritum Sanctum, I believe in the Holy Spirit, Dominum et vivificantem, the Lord and life-giver, qui ex Patre Filioque procedit, who proceeds from the Father and the Son, qui cum Patre et Filio simul adoratur who with the Father and the Son et conglorificatur, together are worshipped and glorified, qui locutus est per prophetas, who spoke through the prophets, et unam sanctam catholicam and I believe in one holy catholic et apostolicam ecclesiam. and apostolic Church. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum, for the remission of sins, et expecto resurrectionem mortuorum. and I look for the Resurrection of the Dead, et vitam venturi saeculi, amen. and life everlasting. Amen.

9 Sanctus Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth! Lord God of hosts! Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis! Hosanna in the highest!

Benedictus Benedictus qui venit Blessed is He that comes in nomine Domini. in the name of the Lord. Osanna in excelsis! Hosanna in the highest!

Agnus Dei Agnus Dei, Lamb of God, qui tollis peccata mundi, you who take away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei, Lamb of God, qui tollis peccate mundi, you who take away the sins of the world, dona nobis pacem. grant us peace.

Photo (next spread): Scott Hanoian; photographer: Peter Smith.

10 ARTISTS

Scott Hanoian (conductor) is the music world’s great opera houses, including the director and conductor of the UMS Choral Metropolitan Opera, La Scala, the Vienna Union where he conducts and prepares Staatsoper, Opéra National de Paris, and the Grammy Award-winning chorus in Lyric Opera of Chicago, and appears in performances with the world’s finest concert with leading conductors and and conductors. Choruses symphony orchestras worldwide. prepared by Mr. Hanoian have sung under Operatic highlights from Ms. Wall’s the batons of Leonard Slatkin, , 2016–17 season include performances Stefan Sanderling, and Peter Oundjian. of Donna Anna in Don Giovanni for her Mr. Hanoian is active as an organist, company debut with San Francisco accompanist, continuo artist, conductor, Opera, Anna Sørensen in Silent Night with choral adjudicator, and guest clinician. He is Michigan Opera Theatre, and her role debut the director of music and organist at Christ as Desdemona in Otello with Vancouver Church Grosse Pointe, where he directs the Opera. On the concert stage, Ms. Wall sings church’s four and oversees the yearly Mahler’s Symphony No. 8 with the NHK concert series. Mr. Hanoian has served on Symphony Orchestra (under conductor the faculty of Wayne State University and Paavo Järvi), the title role in Vanessa with Oakland University and was the artistic the Deutsches Symphonie-Orchester director and conductor of the Oakland Berlin (David Zinman), Mahler’s Symphony Choral Society from 2013–2015. No. 2 with the Royal Flemish Philharmonic As an organist and conductor, Mr. Hanoian (Edo de Waart), Beethoven’s Symphony No. has performed concerts throughout the US 9 with the San Diego Symphony (de Waart) and has led choirs on trips to Great Britain, and Colorado Symphony (Duain Wolfe), Ireland, Italy, France, and Spain. In the Strauss’s Four Last Songs with the BBC summer of 2017, Mr. Hanoian will lead the Scottish Symphony (Thomas Dausgaard), Christ Church Schola during their weeklong a return to the Edinburgh International residency at Westminster Abbey. Festival in two leading roles, and the title Before moving to Grosse Pointe, Mr. role in Thaïs with the Melbourne Symphony Hanoian was the assistant organist and (). Future engagements assistant director of music at Washington include returns to the Canadian Opera National Cathedral where he played the Company and the Lyric Opera of Chicago, organ for many services including the both in leading roles. funerals for Presidents Ronald Reagan and Gerald Ford. Mr. Hanoian has recorded the Possessing a voice of uncommon allure, complete organ works of Johannes Brahms musical sophistication far beyond her for the JAV label. years, and intuitive and innate dramatic artistry, Grammy Award-winning Kelley Acclaimed for her musicality and O’Connor (mezzo-soprano) has emerged versatility, Erin Wall (soprano) sings an as one of the most compelling performers extensive opera and concert repertoire of her generation. During the 2016–17 spanning three centuries, from Mozart season, her impressive symphonic and Beethoven to Britten and Strauss. calendar includes a Boston Symphony She has sung leading roles in many of the Orchestra debut in a program of Brahms,

11 12 13 Purcell, and Stravinsky in collaboration The Makropolous Case, the Song Seller in with Thomas Adès; Wagner’s Wesendonck Il Tabarro, and Marcellus in Hamlet, and Lieder with Matthias Pintscher appeared as Arturo in the Met’s 2011 tour the Indianapolis Symphony Orchestra; John of Japan. Adams’ The Gospel According to the Other Mr. Plenk made his Carnegie Hall debut Mary with Sir Simon Rattle and the Berliner with the Metropolitan Opera Chamber Philharmoniker, and with David Robertson Ensemble, singing the Brahms Liebeslieder and the St. Louis Symphony both at Powell Walzer and duets by Schumann. Other Symphony Hall in St. Louis and at Carnegie concert engagements have included Hall; Beethoven’s Ninth Symphony with Handel’s Messiah with UMS in Ann Arbor Iván Fischer and the Budapest Festival and with the , Orchestra; and Mahler’s Das Lied von der concert performances of Salome and Erde with Louis Langrée and the Detroit Daphne with the in Symphony, and with Donald Runnicles Cleveland and in New York, Borsa in a and the Atlanta Symphony Orchestra. concert performance of Rigoletto with In performances with Jaap van Zweden Gustavo Dudamel and the and the Hong Kong Philharmonic, Ms. Philharmonic at the , the O’Connor sings Mahler’s Third Symphony Shepherd in Oedipus Rex with both the and she assays the role of Erda in concert Boston Symphony Orchestra (with James performances of Wagner’s Das Rheingold Levine) and the Philadelphia Orchestra with the New York Philharmonic and (with Charles Dutoit), his debut at the Alan Gilbert. Tanglewood Festival as Iopas in Berlioz’ This season, Ms. O’Connor brings Les Troyens with James Levine conducting, her artistry to the recital stage in three Filas’ Requiem with the Oratorio Society distinguished settings: she returns to of New York in Carnegie Hall, and the Collaborative Arts Institute Chicago appearances at the Aspen Music and La for programs spotlighting the songs Jolla Summerfest festivals. of Debussy, Massenet, Chausson, and In 2005 Mr. Plenk was one of 16 singers Canteloube; she joins pianist Louis invited to work with Naxos Records and Langrée for recital programs in Cincinnati Yale University in a collaborative project featuring songs of Brahms and Ravel; to record the complete songs of Charles and she is accompanied by her frequent Ives. He has been appointed as assistant collaborator, Donald Runnicles, at the professor of voice at The University of Grand Teton Music Festival in a program of Denver’s Lamont School of Music. He is a Brahms and Bernstein. Samling Scholar, and holds a bachelor’s degree from the Hartt School of Music and A graduate of the Metropolitan Opera’s a master’s degree from Yale University. His Lindemann Young Artist Development many awards include grand finalist in the Program, Matthew Plenk (tenor) made his 2007 Metropolitan Opera National Council Metropolitan Opera debut in the 2007–08 Auditions, first place winner of the Five season as the Sailor’s Voice in Tristan und Towns Music Competition, and grand prize Isolde under the baton of Maestro James winner at the Music Lovers Competition. Levine, a role he repeated under the baton of Daniel Barenboim. He has since returned Praised by as having to the Met as Arturo in I Puritani, Janek in a voice of “unearthly power,” The Houston

14 Press as being a “blow away singer,” and The Ann Arbor Symphony Orchestra the San Jose Mercury News as a “natural (A2SO) has been independently and comic actor,” Nathan Stark (bass) has favorably compared to musical giants performed on operatic, concert, and recital such as the Leipzig Gewandhaus, Boston, stages throughout the US, Europe, and and Detroit symphony orchestras. All of China. Hailing from Hughson, California, these orchestras play regularly here, and Mr. Stark has performed with opera our quality-conscious audience equates houses including the Metropolitan Opera, the A2SO to them with their discretionary Cincinnati Opera, Atlanta Opera, Fort Worth entertainment dollars. This season the A2SO Opera, Hawaii Opera Theatre, Virginia announced sixth consecutive year of over Opera, and Arizona Opera. 1,000 subscribers, underscoring the quality In the 2016–17 season, Mr. Stark returns of the musical experience delivered to our to Hawaii Opera Theatre singing the role growing audience. of Colline in La Boheme, the BARD Music The A2SO is a versatile orchestra, Festival as Petr Fedorovič Basmanov in performing the gamut of musical styles: from Dvořák’s Dimitri, Opera San Jose as General Beethoven to Kodály, and from the revered Audebert in Silent Night, Madison Opera as Russian masters to new and contemporary Sarastro in Die Zauberflöte, Dayton Opera music by Ann Arbor’s own Bill Bolcom, as Escamillo in Carmen, Cincinnati Opera as Michael Daugherty, Evan Chambers, and Colline in La Boheme, the Canton Symphony Michael Schachter. A2SO concerts frequently Orchestra as the bass soloist for Verdi’s feature world-class guest soloists including Requiem, Cathedral Productions as the bass opening this season with Jon Kimura Parker soloist in Handel’s Messiah, and returns as a here in Hill Auditorium. The A2SO is most guest soloist for the 2017 OperaArts Festival privileged to be part of a community already of Opera & Art in Palm Desert, California. enriched with musical talent including Mr. Stark has given recitals throughout Kathryn Votapek, Tim Michling, and Bill the US and Germany, concerts at the Great Campbell, and area choruses such as the Wall of China, the US Colombian Embassy, UMS Choral Union and Measure for Measure. US French Embassy, the US Austrian We are proud to play concerts in all venues Embassy, and the Washington National — from area farmers markets to school Cathedral. In 2005 he was chosen to be the classrooms, and from libraries to day care featured soloist for the nationally televised centers and senior centers. opening ceremonies of the Air Force One You can hear A2SO concerts in person exhibit at the Ronald Reagan Library for and by broadcast on WKAR and WRCJ radio former First Ladies Laura Bush and Nancy stations. Whether on the ipod or radio, Reagan, members of the US Senate and in the concert hall or the classroom, the Congress, and for then-President of the US, A2SO is passionately committed to lead George W. Bush. He holds degrees in vocal and enrich the culture of the region. As and opera performance from California Washtenaw County’s largest arts employer, State University, Long Beach (BM and MM) we attract, inspire, and educate the most and the University of Cincinnati College- diverse audience possible, foster a growing Conservatory of Music (AD). His voice appreciation for orchestral music and teachers have included Lewis Woodward, regional talent, and provide imaginative Cherrie Llewellyn, Shigemi Matsumoto, programming through community Marilyn Horne, and Kenneth Shaw. involvement.

15 Join the A2SO at the Michigan Theater of ’s Songs of Innocence Saturday, March 18 for Stravinsky’s bold and of Experience in Hill Auditorium in April Firebird and at Hill Auditorium on Sunday, 2004 under the baton of Leonard Slatkin. May 7 for Verdi: Viva L’Italia. Naxos Records released a three-disc set of this recording in October 2004, featuring Formed in 1879 by a group of local the UMS Choral Union and U-M School of university and townspeople who gathered Music, Theatre & Dance ensembles. The together for the study of Handel’s Messiah, recording won four Grammy Awards in the UMS Choral Union has performed 2006, including “Best Choral Performance” with many of the world’s distinguished and “Best Classical Album.” The recording orchestras and conductors in its 138- was also selected as one of The New York year history. First led by Professor Henry Times “Best Classical Music CDs of 2004.” Simmons Frieze and then conducted Other recent highlights include a Grammy- by Professor Calvin Cady, the group has nominated recording project with the performed Handel’s Messiah in Ann U-M School of Music, Theatre & Dance’s Arbor annually since its firstMessiah choral and orchestral ensembles of a performance in December 1879. Based performance of the rarely heard Oresteian in Ann Arbor under the aegis of UMS Trilogy by Darius Milhaud conducted by and led by Scott Hanoian, the 175-voice Kenneth Kiesler. In May 2013, chorus Choral Union is known for its definitive members joined the Detroit Symphony and performances of large-scale works for Leonard Slatkin in a performance of Ives’s chorus and orchestra. Symphony No. 4 as part of Carnegie Hall’s The UMS Choral Union’s 2016–17 season Spring for Music festival in New York. began with its annual performances of Participation in the UMS Choral Union Handel’s Messiah at Hill Auditorium with remains open to all students and adults by the Ann Arbor Symphony. In February, the audition. UMS Choral Union joined the Budapest For more information on how to audition, Festival Orchestra and conductor Iván please email [email protected], Fischer for a performance of Beethoven’s call 734.763.8997, or visit Ninth Symphony — the first time in 30 www.ums.org/choralunion. years it had been performed under UMS auspices at Hill Auditorium. Women of the UMS Choral Union will join the Ann Arbor Symphony Orchestra and Arie Lipsky in March for a performance of Debussy’s Nocturnes. Beethoven’s Missa Solemnis will be performed with the Toledo Symphony and Stefan Sanderling again in April at the Toledo Museum of Art’s Peristyle, and the chorus will end the season in May with performances of Beethoven’s Ninth Symphony with the Detroit Symphony and Leonard Slatkin. The UMS Choral Union was a participant chorus in a rare performance and recording

16 UMS ARCHIVES

This evening’s performance marks the UMS Choral Union’s 435th appearance under UMS auspices, following its most recent UMS performances of Handel’s Messiah in December 2016 under the baton of Scott Hanoian. Scott Hanoian makes his sixth UMS appearance as conductor this evening, following his UMS debut in December 2015 in performances of Handel’s Messiah. This evening’s performance marks the Ann Arbor Symphony Orchestra’s 75th UMS performance since its 1974 UMS debut. Mezzo-soprano Kelley O’Connor makes her second UMS appearance this evening, following her UMS debut in February 2017 with the Budapest Festival Orchestra conducted by Iván Fischer in a performance of Beethoven’s Ninth Symphony at Hill Auditorium. This evening’s concert marks tenor Matthew Plenk’s third performance under UMS auspices, following his UMS debut in December 2015 in performances of Handel’s Messiah. UMS welcomes soprano Erin Wall and bass Nathan Stark as they make their UMS debuts this evening.

17 ANN ARBOR SYMPHONY ORCHESTRA

Arie Lipsky / Music Director of the Ann Arbor Symphony Mary Steffek Blaske / Executive Director Jim Lancioni / Production Manager Naomi Leong / Production Coordinator

Violin I Cello Horn Kathryn Votapek* Sarah Cleveland* Dave Denniston* Concertmaster Sundelson Endowed Principal Tamara Kosinski Aaron Berofsky Concertmaster Chair Cello Chair Matt Hansen Michael Bechtel Sabrina Lackey Garrett Krohn Straka-Funk Associate Concertmaster Rachel and Arie Lipsky Cello Chair Chair Honoring Kathryn Votapek Eric Amidon Trumpet Jennifer Berg Rita and James H. White Cello Chair Bill Campbell* Jennifer Berg Violin Chair Andrea Yun David S. Evans III Principal Lijia Phang Marijean Quigley-Young Cello Chair Trumpet Chair Froehlich Family Violin Chair Caroline Kim Eriko Shibata John Bian Nancy Chaklos Lisa Marie Tubbs Trumpet Chair Alena Carter Brandon Cota Ruth Merigian and Trombone Albert A. Adams Chair Bass Donald Babcock* Linda Etter Gregg Emerson Powell* Scott Hartley Linda Etter Violin Chair Jon Luebke Mark and Susan Orringer Family Grace Kim The EZ Chair Trombone Chair Bram Margoles Joy Rowland Greg Lanzi Sharon Meyers The A2SO Board Emerita Chair Priscilla Johnson Robert Rohwer Timpani Jonathan Hammonds James Lancioni* Violin II A. Michael and Remedios Montalbo Barbara Sturgis-Everett* Flute Young Principal Timpani Chair Gates & Rudisill Endowed Principal Chris James* Second Violin Chair Merryl Monard *Principal Rita Wang Sarah and Jack Adelson Violin Chair David Ormai Timothy Michling* Doubleday Family Second Violin Chair Gilbert Omenn Endowed Principal Jecoliah Wang Oboe Chair Brian K. Etter Memorial Violin Chair Kristin Reynolds Jenny Wan Bill and Jan Maxbauer Oboe Chair Cyril Zilka Katie Rowan Kim, Darlene, and Taylor Eagle Chad Burrow* Violin Chair Jim and Millie Irwin Endowed Principal Anne Ogren Clarinet Chair Elaine Sargous Elliott Ross Rachel and Arie Lipsky Clarinet Chair Viola Kristina Willey* Tim and Leah Adams Principal Christian Green* Viola Chair E. Daniel Long Principal Bassoon Chair Jacqueline Hanson John Kriewall Vincent Family Charitable Fund William and Betty Knapp Section Section Viola Chair Bassoon Chair Janine Bradbury Scott Bartlett Antione Hackney Contrabassoon Barbara Zmich Yury Ozhegov Nathan Peters

18 UMS CHORAL UNION

Scott Hanoian / Conductor and Music Director Shohei Kobayashi / Assistant Conductor Jean Schneider and Scott VanOrnum / Accompanists Kathleen Operhall / Chorus Manager Nancy Heaton / Librarian

Soprano Lora Perry Campredon Benjamin Johnson Hedvig Bille Andersson Cheong-Hee Chang Marius Jooste Elizabeth Baldner Kathleen Evans Daly Bob Klaffke Debra Joy Brabenec Elise Demitrack Shohei Kobayashi Ann Burke Melissa Doyle Christopher Miller Anne Cain-Nielsen Jessica Dudek Nic Mishler Carol Callan Sarah Fenstermaker Anthony Parham Sr. Susan F. Campbell Jane Forman Eric Portenga Cheryl D. Clarkson Judi Lempert Green Andrew Ridder Barbara Clayton Johanna Grum Ray Shuster Marie Ankenbruck Davis Kat Hagedorn Carl Smith Carrie Deierlein Nancy Heaton Maxwell Trombley Kristina Eden Carol Kraemer Hohnke Trevor Young Susannah Engdahl Melissa Evans Itsell Jennifer Lynn Freese Katherine Klykylo Bass Marie Gatien – SC Jean Leverich Sam Baetzel Cindy Glovinsky Cynthia Lunan William H. Baxter Keiko Goto Milisa Manojlovich Joel Beam Juyeon Ha Elizabeth Mathie Daniel Bizer-Cox Meredith Hanoian Beth McNally – SC William Boggs – SC Jenny Hebert Kathleen McEnnis Charles A. Burch Rebecca Hixon Marilyn Meeker – SL Kyle Cozad Suzanne Hopkins Anne Messer George Dentel Chloe Keast Carol Milstein John Dryden Kyoung Kim Lisa Murray Robert Edgar Jessica C. B. King Hanna M. Reincke Jeffrey Ellison Rachel Krupp Ruth Senter Allen Finkel Kathleen E. Marinan Meghana Shankar Greg Fleming Margaret McKinney Cindy Shindledecker Robert R. Florka Carole McNamara Susan Sinta Jorge I iguez-Lluhi Katie Mysliwiec Hanna Song Michael S. Khoury Stacey Nathan Katherine Spindler Sunho Lee Margaret Dearden Petersen Gaye Beck Stevens Rick Litow Sara J. Peth Paula Strenski Roderick L. Little Julie Pierce Ruth A. Theobald Joseph D. McCadden Renee Roederer Jessica Thweni James B. McCarthy Mary Schieve Cheryl Utiger Ian Roederer Joy Schultz Cynthia Weaver Paul C. Schultz Nikhila Shankar Mary Beth Westin William Shell – SL Elizabeth Starr Karen Woollams David Sibbold Jennifer Stevenson William Stevenson Sue Ellen Straub Tenor David Townsend Sarai Troutman Ernesto Alvarez Thomas Trevethan Ariel Wan Michael Ansara Jr. James Watz Margaret (Margie) Warrick Gary Banks – SC Matthew Yettaw Barbara J. Weathers Adam Bednarek Mary Wigton – SL Parinya Chucherdwatanasak SC – Section Coach Linda Wills Joseph D. Daniel SL – Section Leader John R. Diehl Alto Fr. Timothy J. Dombrowski Paula Allison-England Steven Fudge – SL Carol Barnhart Richard S. Gibson Laura Bednarek Carl Gies Margy Boshoven Arthur Gulick Lauren Boyles-Brewitt Peter C.Henninger-Osgood

19 TONIGHT’S VICTOR FOR UMS:

Jerry Blackstone UMS Choral Union Performance Fund

Supporter of this evening’s performance of Beethoven’s Missa Solemnis.

MAY WE ALSO RECOMMEND...

3/24 Mitsuko Uchida, piano 4/1 Michael Fabiano, tenor with Martin Katz, piano 4/25 The English Concert: Handel’s Ariodante

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

3/18 You Can Dance: Kidd Pivot (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm)

3/25 Pre-Concert Lecture Series: Exploring Beethoven’s String Quartets (Michigan League Koessler Room, Third Floor, 911 N. University Avenue, 7:00 pm)

Educational events are free and open to the public unless otherwise noted.