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Fall 2006 Season 128th Annual Season

General Information Event Program Book Thursday, November 30 through Sunday, December 10, 2006 On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events. London Philharmonic Orchestra Thursday, November 30, 8:00 pm Children of all ages are welcome at UMS Family and Youth Performances. Hill Auditorium Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All chil­ Handel's Messiah 15 dren should be able to sit quietly in Saturday, December 2, 8:00 pm their own seats throughout any UMS Sunday, December 3, 2:00 pm performance. Children unable to do so, along with the adult accompanying Hill Auditorium them, will be asked by an usher to leave the auditorium. Please use discre­ Michigan Chamber Players tion in choosing to bring a child. 31 Complimentary Admission Remember, everyone must have a Sunday, December 10, 4:00 pm ticket, regardless of age. Rackham Auditorium While in the Auditorium

Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.

Cameras and recording equipment are prohibited in the auditorium.

If you have a question, ask your usher. They are here to help.

Please turn off your cellular phones and other digital devices so that every­ one may enjoy this UMS event distur­ bance-free. In case of emergency, advise your paging service of auditori­ um and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.

In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. UMS University Musical Society

Dear Friends,

he performances included in this program Michigan. Writes Michael Boyd, the Artistic book constitute the final concerts of the Director of the RSC: "We are very proud of our TUMS fall season and what a fall it has residencies in Ann Arbor. They have allowed us to been! Three highlights for me were the rare show you what we can do, and they have proved appearance in September of the Alice Coltrane an exciting model of how theatre can and should Quartet; the completion in October of the Kirov engage with a community. They have allowed us Orchestra's five-concert Shostakovich to re-explore our work and find fresh insight and Centennial Festival; and the three-week resi­ new depth and make our story-telling better. dency in October and November of the Royal Working with you has raised our game and made Shakespeare Company (RSC). The RSC residen­ us more ambitious for ourselves. We're already cy was the largest, most expensive, and most looking forward to engineering our return to engaging project ever undertaken by UMS in our Michigan." Yes, they are coming back. Stay tuned 128-year history. Nearly 30,000 people attended for details. the performances and dress rehearsals including The London Philharmonic Orchestra (LPO) more than 5,000 students. People came from 39 concert on November 30, while sadly missing Ann states and four countries. RSC actors and crew Arbor favorite Kurt Masur on the podium, warms were all over Ann Arbor and southeastern the hearts of anyone associated with the Michigan participating in the more than 140 edu­ Interlochen Center for the Arts. The program cational events that supplemented the plays. opens with Liszt's Les Preludes, the piece that clos­ Michigan loves the RSC, and the RSC loves es each season at the famous summer music

Ken Fischer flanked by RSC actors Patrick Stewart and Harriet Walter at Michigan Stadium on November 4. UMS 06/07 University Musical Society

camp in northern Michigan. Warm memories flow If you have a minute sometime between now whenever Interlochen alumni hear the work. It is and the New Year to send me a message, I'd love always a treat to hear Sarah Chang, who per­ to have you share with me your highlights of forms the Sibelius Violin Concerto with the LPO. UMS's fall season. Drop me an email message at This year's performances of Handel's Messiah [email protected]. December 2 and 3 are the first to be performed by the UMS Choral Union since it received a Have a joyous holiday season, Grammy Award for "Best Choral Recording" for its participation in the performance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004. UMS congratulates both the Interlochen Center for the Arts and U-M Professor William Bolcom for being Ken Fischer awarded the National Medal of Arts presented by UMS President President Bush at the White House on November 9 of this year. We are pleased to present col­ leagues from the U-M School of Music, Theatre & Dance in the Michigan Chamber Players con­ cert on December 10.

Educational Events through Sunday, December 10, 2006

All UMS educational activities are free, open to the public, and in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.647.6712 or e-mail [email protected].

Handel's Messiah

PREP with Dr. Jerry Blackstone Saturday, December 2, 7:00-7:30 pm and Sunday, Decembers, 1:00-1:30 pm, Hill Auditorium Mezzanine Lobby

UMS Choral Union conductor Jerry Blackstone will give a pre-performance lecture on the historical and musical background of Handel's Messiah. You must have a ticket to the performance to attend. SSSOSSSOSxaSeS'BWi^

Thank you to the Catherine S. Arcure and Herbert E. Sloan Endowment Fund for its support of tonight's performance by the

and

ALL AGES, ALL STAGES, ALL STYLES The Ann Arbor School for fhe Performing Arts has been Ann Arbor's premier community music school since 1991. We are a nonprofit organization and we try to encourage all people to nurture a life-long love of music. Starting with babies right on up to the most seasoned citizens, those who enjoy the universal language of music also build discipline, perseverance, responsibility and commitment.

ANN ARBOR SCHOOL FOR THE

PERFORMING ARTS REGISTER NOW FOR: 4090 Geddes Road Early Childhood Arts Program Youth Orchestra Program Ann Arbor, Ml 48105 Jazz Studies Program Private Instruction on Any Instrument 734.995.4625 Chamber Music Studies Program Pre-college Merit Program Nurture the artist In you and your children In the exciting, rich atmosphere [email protected] of Ann Arbor's community music schooll www.aa-spa.org Contact us today to experience the Joy of music In your life tomorrow// urns and fhe Catherine S. Arcure London Philharmonic Orchestra and Herbert E. Sloan Endowment Fund present Alexander Vedernikov, Guest Conductor Sarah Chang, Violin

Program Thursday Evening, November 30, 2006 at 8:00 Hill Auditorium Ann Arbor

Franz Liszt Les Preludes, S. 97

Jean Sibelius Violin Concerto in d minor. Op. 47 Allegro moderate . Adagio molto Allegro, ma non tanto

Ms. Chang

INTERMISSION

Johannes Brahms Symphony No. 2 in D Major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino ; Allegro con spirit

38th Performance of the Tonight's performance is supported by the Catherine S. Arcure and Herbert £. Sloan 128th Annual Season Endowment Fund. Special thanks to Alan Aldworth and ProQuest Company for their support of the 128th Annual UMS Classical Kids Club. Choral Union Series Tonight's pre-concert Prelude Dinner is sponsored by TIAA-CREF. Special thanks to Mark Clague, Assistant Professor of Musicology, U-M School of Music, Theatre & Dance, for his participation in tonight's Prelude Dinner. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Observer & Eccentric newspapers. Thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's performance. The photographing or Thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird sound and video record­ Carillon. ing of this concert or London Philharmonic Orchestra appears by arrangement with Columbia Artists Management, LLC. possession of any device for such recording is Ms. Chang appears by arrangement with ICM Artists. prohibited. Large print programs are available upon request. UMS 06/0, London Philharmonic Orchestra

Les Preludes, 5.97(1854) all existence; but what fate is there whose first delights of happiness are not interrupted by Franz Liszt some storm, whose fine illusions are not dissi­ Born October 22, 1811 in Doborjan, Hungary pated by some mortal blast, consuming its altar (now Raiding, Austria) as though by a stroke of lightning? And what Died July 31, 1886 in Bayreuth cruelly wounded soul, issuing from one of these tempests, does not endeavour to solace its In the wake of the momentous changes that memories in the calm serenity of rural life? shook Europe during the revolutions of 1848, Nevertheless, man does not resign himself for Franz Liszt changed his entire life. He gave up his long to the enjoyment of that beneficent still­ international concert career as the most brilliant ness which he first enjoyed in Nature's bosom, piano virtuoso of his time and transferred his and when "the trumpet sounds the alarm" he takes up his post, no matter how dangerous may home base from Paris to Weimar, where he be the struggle which calls him to its ranks, that became the conductor of the court orchestra. he may recover in combat the full consciousness Concurrently, he turned his attention increasingly of himself and his powers. to orchestral composition. However, he had no intentions of cultivating the four-movement sym­ The sections of Liszt's symphonic poem^in phonic form inherited from Beethoven, as turn amorous, dramatic, pastoral, and martial Schumann had done before him or Brahms would correspond closely to the analogous sections of do subsequently. Just as his early piano music the poem, though Lamartine had closed with the often evoked "poetic and religious harmonies" or pastoral rather than with the martial. Yet Liszt uni­ picturesque places from his travels (as opposed to fied his material in a way that has no parallels in the more abstract preludes, nocturnes, and the poetry. During the Weimar years, he perfect­ mazurkas of his friend Chopin), so in his symphon­ ed a new method of thematic transformation, ic works he wanted openly to acknowledge the where a principal theme is repeated throughout a inspiration received from extra-musical sources. work with fundamental changes in rhythm, In Weimar, Liszt began work on what would tempo, and harmony that completely alter its become a cycle of twelve symphonic poems, each character. The immediate model for Liszt's proce­ based on a specific literary or artistic program. Les dure was Schubert's Wanderer fantasy for piano, Preludes, the third in the set, was inspired by a which he arranged for piano and orchestra in poem by the French Romantic poet Alphonse de 1851. Liszt used this technique not only in his Lamartine (1790-1869). Liszt followed the basic symphonic poems, where they were placed in the outline of the poem, but much of the musical service of literary programs, but also in his two material was recycled from earlier projects, some piano concertos and the b-minor sonata, thereby of which had never been completed. crossing the lines between "absolute" and "pro­ Lamartine's poem "Les preludes" is a philo­ gram" music. sophical reflection on life, focusing in particular In Les Preludes, Liszt subjected two separate between the states of war and peace. Liszt must themes to this kind of transformation. The first have been captivated by a certain musical quality one, heard in the powerful "Andante maestoso" in the poem, which the poet himself had called a section following the introduction, alludes to the "poetic sonata." Muss es sein? (Must it be?) theme from Liszt wrote a preface to his score, in which he Beethoven's last string quartet, Op. 135, and summarized some of the ideas that lay behind reappears in lyrical and jubilant guises. (The same both the poem and the music: theme would be taken up later in Cesar Franck's Symphony in d minor.) The other theme, first What else is life but a series of preludes to that played in an espressivo manner by a quartet of unknown Hymn, the first and solemn note of horns, is restated as a pastoral and then as a mil­ which is intoned by Death? Love is the dawn of itary march to provide a grandiose ending. UMS 06/07 London Philharmonic Orchestra

Violin Concerto in d minor. Op. 47 (1903) dissatisfied with the work and decided to revise it Jean Sibelius entirely. After the definitive version was complet­ who Born December 8, 1865 in Hameenlinna ed, he sent it off to his German publisher (Tavastehus), Finland suggested Karl Halir as the soloist. Sibelius acqui­ second Died September 20, 1957 in Jarvenpaa esced, passing over Burmester for the time. Greatly offended, Burmester never played "I've got some lovely themes for a violin concer­ the work whose composition he had initiated. Halir, the concertmaster of the Berlin Court to," Sibelius wrote to his wife, Aino, in September was 1902. The Finnish composer, at 37 already a Opera, and a professor at the Conservatory, highest national figure and the recipient of an annual a fine violinist but not a virtuoso of the caliber. It was a 17-year-old boy from Hungary pension from the Finnish government, had been became asked by the German violinist Willy Burmester to named Ferenc (Franz von) Vecsey who and it is write a violin concerto. Despite the "lovely the work's first international champion, themes" Sibelius had, however, the concerto was­ to him that the printed score is dedicated. Sibelius n't coming along as expected. The difficulties had But, as Tawaststjerna has noted, wrote his concerto for neither Burmester nor any­ to do with the composer's alcoholism that around one else but himself. As a young man, he had this time began to alarm his family seriously; that gave up addiction in turn seemed to stem from a deep hoped to become a concert violinist, and his dreams of a virtuoso career only with great sense of inner insecurity. It was a year before Sibelius sent the piano score to Burmester, who reluctance. At any rate, his primary instrument was the violin; unlike Brahms who consulted responded enthusiastically: Joseph Joachim when he was writing his violin I can only say one thing: wonderful! Masterly! concerto, Sibelius did not need to ask others for Only once before have I spoken in such terms of advice on technical matters. Tawaststjerna writes, a composer, and that was when Tchaikovsky "Naturally in his imagination he identifies himself showed me his concerto. with the soloist in the Violin Concerto and this may well explain something of its nostalgia and What happened after this is rather hard to romantic intensity." explain. Burmester was expecting to play the "Nostalgia and romantic intensity" these world premiere of the new work in the spring of are indeed key words if one wishes to describe 1904, but Sibelius, for financial reasons, pushed the Sibelius Violin Concerto. Written in the first for an earlier date even though Burmester wasn't years of the 20th century, it looks back to the available sooner and the orchestration of the con­ great Romantic concertos of the 19th. The begin­ certo wasn't even finished. Sibelius completed the ning, with the d-minor tremolos of the muted first concerto sometime before the end of 1903, and and second violins over which the soloist plays a gave it to a local violin teacher, Viktor Novacek. All wistful melody, is unabashedly old-fashioned. The accounts agree that Novacek was hardly more only unconventional features are the repeated than a mediocre player. Leading Sibelius biogra­ augmented-fourth leaps (from D to G-sharp or G pher Erik Tawaststjerna writes that at the Helsinki to C-sharp) which create harsher sonorities, and premiere, in February 1904, "a red-faced and per­ the irregular phrase structure of the theme, which spiring Novacek fought a losing battle with a solo makes it impossible to predict how the melody is part that bristled with even greater difficulties in going to evolve. this first version than it does in the definitive Simple and song-like at first, the violin part score." gradually becomes more and more agitated, Sibelius had been trying to pacify Burmester erupting in a first virtuoso cadenza. As the meter by saying that "Helsinki doesn't mean a thing," changes from 4/4 to 6/4 time, the orchestra intro­ and still promised him performances in Berlin and duces a second idea, which the violin soon takes elsewhere. But after the Helsinki premiere, he was over; when that happens, however, the tempo UMS London Philharmonic Orchestra

suddenly slows down and the character of the tion of 6/8 and 3/4 time (the first is subdivided theme changes from dramatic to lyrical. This is into 3 + 3 eighth-notes, the second into 2 + 2 + followed by a third, purely orchestral section, in a 2). "With this," Tovey concluded his analysis, "we fast 2/2 time; lively and energetic; it ends in can safely leave the finale to dance the listener pianissimo with the cellos and basses repeating a into Finland, or whatever Fairyland Sibelius will single note (B-flat). The three sections roughly have us attain." outline the exposition of a sonata form, although the meter changes and the succession of charac­ ters is unusual; also, the key of b-flat minor, which Symphony No. 2 in D Major, Op. 73 (1877) is eventually reached, is a highly unusual tonal Johannes Brahms direction for a concerto movement in d minor. Its Born May 7, 1833 in Hamburg, Germany many flats contribute to a certain dark, "Nordic" Died April 3, 1897 in Vienna flavor in the concerto, reinforced by the frequent use of the violin's low register. The brass parts also It took Brahms almost 20 years to complete his abound in "glacial" low notes, harmonized with Symphony No. 1. After the successful premiere of austere-sounding chordal passages. that work in November 1876, however, the ice There is no real development section; its was broken, and the Second Symphony was writ­ place is taken by the solo cadenza, which occurs ten in a single summer the following year. in the middle of the movement rather than at the Symphony No. 2 is usually considered an end as usual. The cadenza is followed by a free "idyllic" work (musicologist Reinhold Brinkmann recapitulation in which the first melody returns has called his book-length study of the symphony almost literally. The second theme (especially in its Late Idyll). Yet the usual cliche about Symphony orchestral rendition) is substantially modified. The No. 2, that it is Brahms's "Pastorale," is just as melody of the third section is now given to the misleading as the one about his First, which was violas while the soloist adds virtuoso passages, called "Beethoven's Tenth" (meaning some kind turning the ending of the movement into a kind of continuation of the Ninth, on account of the of grandiose Gypsy fantasy. last movement's main theme, which is reminiscent The second-movement "Adagio molto" is of the "Ode to Joy" melody). It is true that the based on the combination of two themes, one Second is the happiest of the four Brahms sym­ played by the two clarinets at the beginning, the phonies, but there is no programmatic intent as in other by the solo violin a few measures later. The Beethoven 's Symphony No. 6. Also, the rhythm of violin melody is, according to the composer's own the first movement's opening theme recalls, if written instruction, "sonorous and expressive"; anything, the first theme of Beethoven's Eroica, the clarinet theme later grows into an impas­ and the triumphant trumpet fanfares of the clos­ sioned middle section whose dynamism carries ing measures resemble the end of the Egmont over into the recapitulation of the violin melody Overture, one of the most glorious examples of (part of it is now given to the woodwinds). Only Beethoven's heroic style. at the very end does the melody find its initial In fact, Symphony No. 2 describes a rather peace and tranquility again. unique emotional curve, from a soft-spoken and Speaking about the finale, it is impossible lyrical, indeed somewhat pastorale-like first move­ not to quote Donald Francis Tovey's characteriza­ ment to this exuberant ending, with a melancholy tion of its main theme as a "polonaise for polar "Adagio" and a graceful "Allegretto" in bears." Tovey's words capture the singular combi­ between. In addition, each movement departs nation of dance rhythms and a certain heavy- from its basic character to encompass others that footedness felt at least at the beginning of this are sometimes very different from the initial ones; movement. Again, there are two themes, one in a so it would be hard to attach a single descriptive polonaise rhythm, and one based on the alterna­ label to the symphony. UMS London Philharmonic Orchestra

The first movement is mostly gentle and The finale begins in a subdued piano as a sweet, and contains some of Brahms's warmest unison melody; harmonies and counterpoint are melodic thoughts. But there are some "dim and added later as the full orchestra enters and the spectral effects," as Karl Geiringer called them in volume increases to forte. The broad second his classic Brahms monograph, right at the begin­ theme is played by violins and violas in parallel ning of the symphony, as the trombones and tuba sixths. The development section opens by the (the latter not used in any of the other Brahms main theme in its original form, giving the impres­ symphonies) make their presence felt by their sion for a moment that the whole movement is somber chordal progressions, punctuated by soft starting all over again. Soon, however, the music timpani rolls. Brahms "rocks the boat" in particu­ takes a new turn and a true development follows, lar by introducing a series of rhythmical irregular­ progressing towards a true anti-climax, getting ities: the martial dotted rhythms, which Brahms slower and softer and finally reaching a mysteri­ used with some frequency in his work, are distin­ ous moment with mere melodic fragments are guished in this case by the asymmetry between played by the winds over tremolos of the strings. the two halves of the phrase. In the development The recapitulation is shortened and contains section there are moments of intense drama, but many subtle changes; but it brings back all the the recapitulation eases these tensions and the important thematic material and leads into the coda even adds a gentle smile as one of the rousing trumpet fanfare that concludes the sym­ themes receives a new accompaniment by pizzi­ phony. cato (plucked) strings. After hearing the symphony, the composer's The second-movement "Adagio non trop- longtime friend, the eminent surgeon and accom­ po" (the only full-fledged adagio in the Brahms plished amateur musician Theodor Billroth symphonies) begins with an expansive cello exclaimed: "How beautiful it must be at melody that does not obey any Classical rules of Portschach!" Billroth knew that the piece had articulation; the listener may never be sure when been written at the resort on the Worthersee the phrase will come to a rest. After the melody (Lake of Worth) in the Austrian province of has been repeated in a fuller instrumentation, a Carinthia; Brahms spent three consecutive sum­ haunting horn solo leads into a more animated mers there between 1877 and 1879. There is no middle section, culminating in a dense forte pas­ doubt that the beauty of the lake surrounded by sage. The recapitulation that follows still seems to mountains exerted a strong influence on him, and be under the spell of the excitement that has not some of the similarity in tone between Symphony completely passed, and includes a second out­ No. 2 and the Violin Concerto, completed at burst of emotions after which the movement dies Portschach the following year, can probably be away with a brief clarinet solo and a soft orches­ ascribed to the genius loci. tral chord. The premiere, conducted by Hans Richter on The third movement is a lyrical intermezzo, December 30, 1877, was one of Brahms's great­ similar to the analogous movement in Brahms's est triumphs; the third movement had to be Symphony No. 1. The alternation of two contrast­ repeated. The enthusiastic reception of his ing thematic materials (ABABA) is an idea bor­ Symphony No. 2 marked the beginning of rowed from scherzo form. The "B" section (or Brahms's reconciliation with his native city. Trio) is in a faster tempo than the opening alle­ gretto, and its theme is a variant of the latter. The Program notes by Peter Laki. second time, the 2/4 meter of the Trio is changed to 3/8. The final repeat of the "Allegretto" theme is somewhat extended, with a digression to a remote key; a beautiful, bittersweet new idea appears in the violins just before the end. UMS 06/0, London Philharmonic Orchestra

lexander Vedernikov was appointed Orchestra, the Royal Scottish National Orchestra, Music Director and Chief Conductor of the Staatskapelle Dresden, the RAI National Athe Bolshoi Theatre in August of 2001. Orchestra (Turin), the Danish Radio Symphony Since that time, he has conducted numerous pro­ Orchestra, Montreal, Budapest, Sydney ductions including Ruslan and Ludmilla (2003), Symphony Orchestras, and the Orchestra of the Prokofiev's The Fiery Angel (2004), The Flying Teatro Colon. He was the Groningen Symphony Dutchman (2004), Falstaff and Leonid Orchestra's (Netherlands) first guest conductor. Desyatnikov's The Children of Rosenthal (world On the international operatic circuit, Maestro premiere, opera commissioned by the Bolshoi Vedernikov has appeared as guest conductor at Theatre), Prokofiev's War and Peace (2005 and leading opera houses including La Scala, Teatro 2006), Prokofiev's Cinderella (2006), and Reggio, the Teatro Communale, the Teatro La Tchaikovsky's Eugene Onegin (2006). Fenice, Rome Opera, and London's Royal Opera Under the tutelage of Maestro Vedernikov, House. In April 2005, he conducted a new pro­ the Bolshoi Theatre has developed an active con­ duction of Boris Godunov, making his debut at cert program; and under his direction, the Bolshoi the Paris National Opera (Opera Bastille). Theatre has toured extensively including a season In the current season, his engagements of opera and ballet at the Royal Opera House, include invitations to the Gothenburg Symphony, Covent Garden this past July, and an upcoming Hamburg, Netherlands, and Stockholm tour to Germany in February 2007. Philharmonic Orchestras, Odense Symphony, In 1995, Maestro Vedernikov founded the Orchestra Radio Suisse Italiana, Helsingborg Russian Philharmonia Symphony Orchestra where Symphony, and symphonic programs with Teatro he was Artistic Director and Chief Conductor until Comunale Firenze, Cagliari, and Genova as well 2004. He has conducted Russia's State Symphony as recently taking over a cancellation with the Orchestra and the St. Bayerischer Rundfunk in Munich. Petersburg Philharmonic. Maestro Vedernikov was born in Moscow Since 2003, he has been a into a musical family his father, Alexander regular conductor of the Vedernikov, is a bass and Bolshoi Theatre soloist, Russian National Orchestra and his mother, Natalya Gureyeva, is a Moscow with whom he toured in Conservatory professor and organist. Maestro France, Germany, and the Vedernikov studied at the Moscow Conservatory. US. In January 2004, as part of the Russian National Orchestra's tour iolinist Sarah Chang is recognized the Vedernikov of nine cities, Maestro world over as one of classical music's most Vedernikov made his Carnegie Hall and Kennedy Vcaptivating and gifted artists. One of the Center debuts. most remarkable prodigies of any generation, she Maestro Vedernikov worked at Moscow's has matured into a young artist whose musical Stanislavsky and Nemirovich-Danchenko Music insight, technical virtuosity, and emotional range Theatre from 1988-90; from 1988-95 he was continue to astonish. assistant to the chief conductor of the Born in Philadelphia to Korean parents, Tchaikovsky Symphony Orchestra with whom he Sarah Chang began her violin studies at age four toured extensively throughout Russia as well as to and enrolled in The Juilliard School of Music at Austria, Germany, and Great Britain. age seven, studying with the late Dorothy DeLay. Maestro Vedernikov has conducted through­ Within a year, she had already performed with out Europe and abroad including performances several orchestras in the Philadelphia area. Her with the Tokyo, Bergen, and London Philharmonic early auditions, at age eight, for Zubin Mehta and Orchestras, the BBC Scottish Symphony Riccardo Muti led to immediate engagements UMS London Philharmonic Orchestra

with the New York announced that Jurowski would become the Philharmonic and the Orchestra's new Principal Conductor from the Philadelphia Orchestra. 2007/08 season. Appearing in the music The London Philharmonic Orchestra has been capitals of Asia, Europe, resident symphony orchestra at the Royal Festival and the Americas, she has Hall since 1992 and there it presents its main collaborated with most series of concerts between September and May major orchestras, including each year. During the current refurbishment of the New York Philharmonic, the Royal Festival Hall, the Orchestra is giving its the Philadelphia Orchestra, main series at the Queen Elizabeth Hall next door. Chang the Chicago Symphony, Renowned for the diversity of its programming, the Boston Symphony, the Cleveland Orchestra, the Orchestra presents concerts featuring some of the Berlin Philharmonic, the Vienna Philharmonic, the outstanding musicians of our time, screenings the principal London orchestras, and the Royal of silent films with live orchestral accompaniment, Concertgebouw Orchestra of Amsterdam. family concerts, and performances for schools. As Notable recital engagements have included her an ongoing commitment to new music, the Carnegie Hall debut and performances at the Orchestra includes new commissions in its series Kennedy Center in Washington, DC, Orchestra and this year appointed Mark-Anthony Turnage Hall in Chicago, Symphony Hall in Boston, the as its Composer-in-Residence. Barbican Centre in London, the Philharmonie in In summer, the Orchestra moves to Sussex Berlin, and the Concertgebouw in Amsterdam. where it has been the resident symphony orches­ She has reached an even wider audience tra at Glyndebourne Festival Opera for the past 42 through her many television appearances, concert years. The London Philharmonic Orchestra also broadcasts, and best-selling recordings for EMI performs at venues around the UK and is resident Classics. The remarkable accomplishments of her orchestra at the Congress Theatre in Eastbourne career were recognized in 1999 when she and the Dome Brighton. received the Avery Fisher Prize, one of the most Abroad, the Orchestra has made numerous prestigious awards given to instrumentalists. tours to America, Europe, and Japan, and visited India, Hong Kong, Australia, and South Africa. Its Russian tour in 1956 was the first ever to be he London Philharmonic Orchestra has undertaken by a British orchestra and, in 1973 it long established a high reputation for its made the first visit by a Western orchestra to Tversatility and artistic excellence. These are China. Recent tours have taken Kurt Masur and evident from its performances in the concert hall the Orchestra to Germany, Greece, Ireland, and and opera house, its many award-winning record­ South Korea. In March, the London Philharmonic ings, its trail-blazing international tours and its Orchestra undertook a 16-city tour of the US. pioneering education work. Recent visits have included a trip to Baden Baden Kurt Masur has been the Orchestra's Principal in Germany with Anne-Sophie Mutter in May Conductor since September 2000, extending the 2006, and major tours of Germany in October of line of distinguished conductors who have held this year. positions with the Orchestra since its foundation The quality of the recording work undertaken in 1932 by Sir Thomas Beecham. These have by the London Philharmonic Orchestra is reflected included Sir Adrian Boult, Sir John Pritchard, in the awards conferred on it for recordings with Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, Bernard Haitink, Simon Rattle, Wolfgang and Franz Welser-Most. Vladimir Jurowski was Sawallisch, Klaus Tennstedt, and Franz Welser- appointed the Orchestra's Principal Guest Most. Over the years, the Orchestra has also Conductor in March 2003. In May this year it was recorded the soundtracks for many feature films UMS 06/C London Philharmonic Orchestra

UMS ARCHIVES

onight's concert marks the London Philharmonic Orchestra's (LPO) second appearance under UMS auspices and the 30th anniversary of the Orchestra's UMS debut. The LPO first Tappeared under UMS auspices on November 14, 1976 at Hill Auditorium under the direc­ tion of Maestro Bernard Haitink. Tonight's concert marks Maestro Alexander Vedernikov's UMS debut. Tonight marks Sarah Chang's third appearance under UMS auspices. Ms. Chang made her UMS debut at Hill Auditorium as soloist with the NHK Symphony Orchestra of Tokyo in April 1999 under the baton of Maestro Charles Dutoit. Ms. Chang returned to Hill Auditorium as a featured soloist in the 2000 Ford Honors Program honoring violinist Isaac Stern.

including Lawrence of Arabia, The Mission, oris Garlitsky has been Leader of the Philadelphia, In the Name of the Father, East is London Philharmonic Orchestra since East, and The Lord of the Rings. In May 2005 the B September 2003. Born in Russia where he Orchestra launched its own record label with the studied at the Moscow Conservatory, he was aim of showcasing the talents of its current play­ Concertmaster of the Orchestre National de Lyon ers and conductors with CDs of 'live' performanc­ from 1991 to 1999 and has made guest appear­ es as well as celebrating memorable relationships ances as the leader of many major orchestras. As with conductors from the past with previously a soloist, he has performed at the Musikverein in unreleased material. Its initial CDs, including Vienna, at the Avery Fisher Hall in New York, and Shostakovich conducted by Kurt Masur and at the Tchaikovsky Hall in Moscow; as a chamber Rachmaninov conducted by Vladimir Jurowski as musician he has collaborated with Gidon Kremer, well as historic performances with Beecham, Pinchas Zukerman, Truls M0rk, and Maria Joao Haitink, and Tennstedt, have met with universal Pires. He is a Professor at the Paris Conservatory acclaim. and since 2001 has been Artistic Director of the Education work plays a prominent part in Summer Academy of Violin in Troyes in France. the Orchestra's schedule. Schools and family Boris Garlitsky has recorded Mozart's Concertone concerts, workshops, and community projects for two violins (with Vladimir Spivakov) and sever­ introduce all ages to music-making. al Bach Concertos. UMS London Philharmonic Orchestra

London Philharmonic Orchestra

Kurt Masur, Principal Conductor

First Violin Double Bass Percussion Boris Garlitsky, Leader Kevin Rundell, Principal Rachel Gledhill Columbia Artists Pieter Schoeman, Co-Leader Paul Kimber, Co-Principal Andrew Barclay Management, LLC Robert St. John Wright Laurence Lovelle Keith Millar Tour Direction: Katalin Varnagy George Peniston R. Douglas Sheldon, Catherine Craig Kenneth Goode Harp Sen/or Vice President Thomas Eisner Richard Lewis Helen Cole Martin Hohmann Kenneth Knussen Karen Kloster, John Kitchen Roger Linley Tour Coordinator Geoffrey Lynn Principal Guest Conductor and Ryan McCarthy, Robert Pool Flute Principal Conductor Designate Managerial Assistant Florence Schoeman Celia Chambers Vladimir Jurowski Sarah Streatfeild Susan Thomas Supported by Aviva Pic Elizabeth E. Torres, Yang Zhang Stewart Mcllwham Program Manager Peter Nail Composer-in-Residence Rebecca Shorrock Piccolo Mark-Anthony Turnage Ann Woodruff, Tour Manager Galina Tanney Stewart Mcllwham Maestro! Travel and Touring, Patron Hotels HRH The Duke of Kent KG Second Violin Oboe Jim Putnam, Driver Clare Duckworth, Principal lan Hardwick Chief Executive and Joseph Maher Angela Tennick Artistic Director Kate Birchall Timothy Walker AM Nancy Elan Clarinet Supported by Macquarie Bank Fiona Higham Nicholas Carpenter Nynke Hijlkema Pau! Richards General Manager and Ashley Stevens Finance Director Andrew Thurgood Bassoon Cameron Poole Dean Williamson John Price Alison Strange Simon Estell Concerts Director Peter Graham Gareth Newrnan Matthew Todd Stephen Stewart Artistic Administrator Mila Mustakova Horn Ruth Sansom Colin Callow Richard Bissill Gareth Mollison Touring Manager/Assistant Viola Christopher Parkes Personnel Manager Alexander Zemtsov, Principal Martin Hobbs Ashley Morris Robert Duncan Neil Shewan Anthony Byrne Concerts and Tours Assistant Katharine Leek Trumpet Hattie Jordan Susanne Martens Paul Beniston Benedetto Pollani Anne McAneney Education and Dan Cornford Nicholas Betts Community Director Claudio Cavalletti Clare Lovett Martin Fenn Trombone Development Director lan Rathbone Mark Templeton Mo Carrington Sarah Malcolm Robert Workman Mary Samuel Marketing Director Bass Trombone Emily Smith Cello Andrew Fawbert Susanne Beer, Principal Personnel Manager Francis Bucknall Tuba Adrian Rutter Laura Donoghue Lee Tsarmaklis Santiago Sabino Carvalho Librarian Jonathan Ayling Timpani Richard Payne Rosie Banks Simon Carrington Stage Manager Sue Sutherley Michael Pattison Susanna Riddell Tom Roff Transport Manager Helen Rathbone Ken Graham We are grateful to the Carl and Isabelle Brauer Fund

for its support of the I28th annual performance of

University Musical Society

Canadian Brass SATURDAY, MARCH 24, 8 PM Hill Auditorium

The world's most famous brass quintet returns to Hill Auditorium for an evening of fun entertainment with a program of jazz master-,'' pieces from the Dixieland Era, arranged by longtime collaborator Luther Henderson.

Sponsored by the University of Michigan Health Systems. Media Partners WRCJ 90.9 FM and Michigan Radio.

I ums 734.764.2538 outside the 734 area code, call toll-free 800.221.1229 urns and the Carl and Isabelle Messiah Brauer Fund present Composed by George Frideric Handel

UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, Conductor and Music Director

Janice Chandler-Eteme, Soprano Jennifer Dudley, Mezzo-soprano Colin Balzer, Tenor Stephen Salters, Baritone

Edward Parmentier, Harpsichord

Program Saturday Evening, December 2, 2006 at 8:00 Sunday Afternoon, December 3, 2006 at 2:00 Hill Auditorium, Ann Arbor

39th and 40th This performance is supported by the Carl and Isabelle Brauer Fund. Performances of the Media partnership provided by Michigan Radio. 128th Annual Season Special thanks to Dr. Jerry Blackstone and the U-M School of Music, Theatre & Dance for their participation in this residency.

Thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird The photographing or Carillon. sound and video record­ Ms. Chandler-Eteme and Mr. Balzer appear by arrangement with Matthew Sprizzo. ing of this concert or Ms. Dudley and Mr. Salters appear by arrangement with Schwalbe and Partners, Inc possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Messiah

'Parti

1 Sinfonia

2 Arioso Mr. Balzer Isaiah 40: 1 Comfort ye, comfort ye my people, saith your God. Isaiah 40: 2 Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. Isaiah 40: 3 The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God.

3 Air Mr. Balzer Isaiah 40: 4 Every valley shall be exalted, and every hill and mountain . . . made low: the crooked . . . straight, and the rough places plain:

Chorus Isaiah 40: 5 And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.

Accompanied recitative Mr. Salters Haggai 2: 6 ... thus saith the Lord of hosts: Yet once, ... a little while, and I will shake the heavens and the earth, the sea and the dry land; Haggai 2: 7 And I will shake all nations, and the desire of all nations . shall come: . . . Malachi 3: 1 ... the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.

6 Air Ms. Dudley Malachi 3: 2 But who may abide the day of his coming? And who shall stand when he appeareth? For he is like a refiner's fire, . . .

7 Chorus Malachi 3: 3 . . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.

8 Recitative Ms. Dudley Isaiah 7: 14 Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."

9 Air and Chorus Ms. Dudley Isaiah 40: 9 0 thou that tellest good tidings to Zion, get thee up into the high mountain; 0 thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Isaiah 60: 7 Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. UMS 06707 Messiah

10 Arioso Mr. Salters Isaiah 60: 2 For behold, . . . darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. Isaiah 60: 3 And the Gentiles shall come to thy light, and kings to the brightness of thy rising.

11 Air Mr. Salters Isaiah 9: 2 The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.

12 Chorus Isaiah 9: 6 For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.

13 Pifa (Pastoral Symphony)

14 Recitative Ms. Chandler-Eteme Luke 2: 8 . . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.

15 Arioso Ms. Chandler-Eteme Luke 2: 9 And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.

16 Recitative Ms. Chandler-Eteme Luke 2: 10 And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. Luke 2: 11 For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

17 Arioso Ms. Chandler-Eteme Luke 2: 13 And suddenly there was with the angel a multitude of the heavenly host praising God and saying,

18 Chorus Luke 2: 14 Glory to God in the highest, and peace on earth, good will toward men.

19 Air Ms. Chandler-Eteme Zechariah 9: 9 Rejoice greatly, 0 daughter of Zion; shout, 0 daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, . . . Zechariah 9: 10 . . . and he shall speak peace unto the heathen: . . . UMS 06/07 Messiah

20 Recitative Ms. Dudley Isaiah 35: 5 Then shall the eyes of the blind be opened, and the ears of the deaf . . .unstopped. Isaiah 35: 6 Then shall the lame man leap as a hart, and the tongue of the dumb shall sing: . . .

21 Air Ms. Dudley and Ms. Chandler-Eteme Isaiah 40: 1 1 He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and . . . gently lead those that are with young. Matthew 11: 28 Come unto Him, all ye that labour and are heavy laden, and He will give you rest. Matthew 11: 29 Take His yoke upon you, and learn of Him, for He is meek and lowly of heart: and ye shall find rest unto your souls.

22 Chorus Matthew 11: 30 ... His yoke is easy, and His burden is light.

INTERMISSION Tart II

23 Chorus John 1: 29 . . . Behold, the Lamb of God, that taketh away the sin of the world! . . .

24 Air Ms. Dudley Isaiah 53: 3 He was despised and rejected of men; a man of sorrows, and acquainted with grief: . . . Isaiah 50: 6 He gave his back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.

25 Chorus Isaiah 53: 4 Surely he hath borne our griefs, and carried our sorrows: . . . Isaiah 53: 5 ... he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.

26 Chorus Isaiah 53: 4 All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.

27 Arioso Mr. Balzer Psalm 22: 7 All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying: UMS 06/07 Messiah

28 Chorus Psalm 22: 8 He trusted in God that he would deliver him: let him deliver him, if he delight in him.

29 Accompanied recitative Mr. Balzer Psalm 69: 20 Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.

30 Arioso Mr. Balzer Lamentations 1: 12 . . . Behold and see if there be any sorrow like unto his sorrow . . .

31 Accompanied recitative Mr. Balzer Isaiah S3: 8 ... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.

32 Air Mr. Balzer Psalm 16: 10 But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.

33 Chorus Psalm 24: 7 Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Psalm 24: 8 Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle. Psalm 24: 9 Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Psalm 24: 10 Who is this King of glory? The Lord of hosts, he is the King of glory.

34 Recitative Mr. Balzer Hebrews 1: 5 . . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee? . . .

35 Chorus Hebrews 1: 6 ... let all the angels of God worship him.

36 Air Mr. Salters Psalm 68: 18 Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.

37 Chorus Psalm 68: 11 The Lord gave the word: great was the company of the preachers.

38 Air Ms. Chandler-Eteme Isaiah 52: 7 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . . UMS 06/07 Messiah

39 Chorus Romans 10: 18 Their sound is gone out into all lands, and their words unto the ends of the world.

40 Air Mr. Salters Psalm 2: 1 Why do the nations so furiously rage together, . . . why do the people imagine a vain thing? Psalm 2: 2 The kings of the earth rise up, and the rulers take counsel together against the Lord and his anointed, . . .

41 Chorus Psalm 2: 3 Let us break their bonds asunder, and cast away their yokes from us.

42 Recitative Mr. Balzer Psalm 2: 4 He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.

43 Air Mr. Balzer Psalm 2: 9 Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.

44 Chorus Revelation 19: 6 Hallelujah: for the Lord God omnipotent reigneth. Revelation 11: 15 . . . The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. Revelation 19: 16 . . . King of Kings, and Lord of Lords.

You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.

'Part III

45 Air Ms. Chandler-Eteme Job 19: 25 I know that my redeemer liveth, and that he shall stand at the latter day upon the earth. Job 19: 26 And though . . . worms destroy this body, yet in my flesh shall I see God. I Cor. 15: 20 For now is Christ risen from the dead, ... the first fruits of them that sleep. UMS 06/0 Messiah

46 Chorus I Cor. 15:21 . . . since by man came death, by man came also the resurrection of the dead. I Cor. 15: 22 For as in Adam all die, even so in Christ shall all be made alive.

47 Accompanied recitative Mr. Salters / Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, I Cor. 15: 52 In a moment, in the twinkling of an eye at the last trumpet:

48 Air Mr. Salters / Cor. 15: 52 ... the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. I Cor. 15: 53 For this corruptible must put on incorruption, and this mortal must put on immortality.

49 Recitative Ms. Dudley / Cor. 15: 54 . . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.

50 Duet Ms. Dudley and Mr. Balzer / Cor. 15: 55 0 death, where is thy sting? 0 grave, where is thy victory? I Cor. 15: 56 The sting of death is sin; and the strength of sin is the law.

51 Chorus / Cor. 15: 57 But thanks be to God, who giveth us the victory through our Lord Jesus Christ.

52 Air Ms. Chandler-Eteme Romans 8: 31 If God be for us, who can be against us? Romans 8: 33 Who shall lay anything to the charge of God's elect? It is God that justifieth. Romans 8: 34 Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is ... at the right hand of God, who . . . maketh intercession for us.

53 Chorus Revelation 5: 12 . . . Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Revelation 5: 13 . . . Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.

Amen. UMS Messiah

Messiah found in many consecrated buildings), the the­ George Frideric Handel atrical presentation of vocal music on a sacred Born on February 23, 1685 in Halle, Germany topic was an adjunct to the liturgy of the Church. Died on April 14, 1759 in London But by 1700, oratorios were being performed in private chapels and palaces as a form of enter­ George Frideric Handel's sacred oratorio Messiah tainment, and had taken on the now-standard is without question one of the most popular characteristics of a sung drama on sacred texts, works in the choral/orchestral repertoire today. In without staging or costumes. what has become an indispensable Christmas tra­ Handel composed several oratorios early in his dition, amateur and professional musicians in career, including some in Italian // Trionfo del almost every city and town throughout the coun­ Tempo e del Disinganno and La Resurrezione— try perform this work as a seasonal entertain­ and the later English-language works Esther, ment, and are rewarded with the satisfaction of Deborah, and Athalia. But after the collapse of his taking part in one of the great communal musical operatic ventures in London around 1740, Handel events. devoted himself to the oratorio as a form in which Since the first performances in 1742, genera­ he could combine his flair for dramatic vocal writ­ tions of musicians have adapted Handel's Messiah ing and his experience as a composer of sacred, to suit the changing tastes of fashion and func­ devotional music. With these later oratorios tion. The small ensembles Handel conducted him­ Handel eventually won back the esteem of the self had around 20 singers and an equal number London critics, and secured a phenomenal public of instrumental players, but even before the end following that would ensure his future success of the 18th century much larger ensembles were and reputation. performing the work. By the mid-19th century, The text for Messiah was selected and com­ when the appeal of the spectacle sometimes out­ piled from the Authorized (King James) Version of weighed the demands of musical integrity, singers the Bible by Charles Jennens, an aristocrat and and instrumentalists for a single performance musician/poet of modest talent and exceptional would often number in the several thousands. But ego. With Messiah, Jennens seems to have out­ the size of the ensemble wasn't the only variable. done himself in compiling a libretto with pro­ Mozart re-orchestrated Handel's score in 1789, found thematic coherence and an acute sensitivi­ adding extra parts for woodwinds to give the ty to the inherent musical structure. With the fin­ orchestral writing richer harmonies and a more ished libretto in his possession, Handel began set­ varied timbre. In addition to Mozart's re-orches­ ting it to music on 22 August 1741, and com­ tration, Sir Arthur Sullivan and Eugene Goosens pleted it 24 days later. He was certainly working likewise made their own arrangements of the at white-hot speed, but this didn't necessarily orchestral parts, updating the work for their indicate he was in the throes of devotional fervor, respective audiences. And in 1993, a popular as legend has often stated. Handel composed recording of excerpts from Messiah titled A many of his works in haste, and immediately after Soulful Celebration brought together Stevie completing Messiah he wrote his next oratorio, Wonder, Quincy Jones, Al Jarreau, the Boys Choir Samson, in a similarly brief time-span. of Harlem, and others in a gospel-style interpreta­ The swiftness with which Handel composed tion of Handel's music. The diversity of perform­ Messiah can be partially explained by the musical ance styles and enthusiastic responses to this ora­ borrowings from his own earlier compositions. torio over the centuries testify to its immense For example, the melodies used in the two cho­ popularity. ruses "And He shall purify" and "His yoke is The oratorio as a musical genre originated easy" were taken from an Italian chamber duet during the 17th century in the churches and Handel had written earlier in 1741, "Quelfiorche monasteries of Italy. In the Oratory (a side chapel all' alba ride." Another secular duet, "A/6, di voi UMS< Messiah

non vo' fidarmi," provided material for the "Come unto Him, ye that are heavy laden." famous chorus "For unto us a Child is born," and The first public performance of Messiah took the delightful "All we like sheep" borrows its place in Dublin, Ireland, on 13 April 1742. As this wandering melismas from the same duet. A was to be a benefit performance for charity, the madrigal from 1712, "Se tu non lasci amore," ladies were asked not to wear hoop dresses, and was transformed into a duet-chorus pair for the the men to leave their swords at home, in order end of the oratorio, "O Death, where is thy to accommodate more people in the hall. Messiah sting," and "But thanks be to God." In each was an unqualified success in Dublin; Handel had instance, however, Handel does more than simply worked for months preparing his chorus and provide new words to old tunes. There is consid­ orchestra, and brought in some of the finest solo erable re-composition, and any frivolity that singers from England. The alto soloist in particular remains from the light-hearted secular models is sang so affectingly that after one aria an audience more than compensated for by the new material member exclaimed from his chair, "Woman, for Handel masterfully worked into each chorus. this, be all thy sins forgiven." But when Handel Over-enthusiastic "Handelists" in the 19th took Messiah to London the following season, it century perpetuated all sorts of legends regarding received a chilly reception. Even though King the composition of Messiah. An often-repeated George II attended the first performance at story relates how Handel's servant found him sob­ Covent Garden Theatre (and, it is claimed, initiat­ bing with emotion while writing the famous ed the tradition of standing for the "Hallelujah "Hallelujah Chorus," and the composer claiming, Chorus"), London audiences found its contem­ "I did think I did see all Heaven before me and the plative texts lacking in drama and narrative great God Himself." Supposedly Handel often left action, and it closed after only three performanc­ his meals untouched during this compositional es. Some clergy considered the theater in general period, in an apparent display of devotional fast­ a den of iniquity and certainly no place for a work ing and monastic self-denial. Present-day histori­ on such a sacred topic (Handel couldn't win ans more familiar with Handel's life and religious when it was scheduled to be performed in views tend to downplay these stories. It's been Westminster Abbey, other members of the clergy suggested that if Handel did indeed have visions declared it sacrilege for a public entertainment to of Heaven while he composed Messiah, then it take place in a consecrated church). And Jennens, was only in the same manner in which he visual­ the librettist, wasn't entirely pleased with what ized the Roman pantheon of gods while he com­ Handel had done to his texts. After initially voic­ posed his opera Semele. Handel's religious faith ing his thorough disappointment with the work, was sincere, but tended to be practical rather Jennens later declared Handel's composition "a than mystical. fine Entertainment, tho' not near so good as he Handel was also not a native English-speaker, might and ought to have done." It wasn't until and examples of awkward text-setting in Messiah 1750, when another performance for charity was demonstrate some idiosyncrasies in his English staged at the Foundling Hospital in London, that declamation. He set the word "were" as if it had English audiences took Messiah to their hearts, two syllables, and "surely" with three syllables. In and yearly performances at the hospital from that the bass aria, "The trumpet shall sound," Handel time on established the lasting popularity of both originally declaimed "incorruptible" with empha­ the work and its composer. Upon Handel's death sis on the second and fourth syllables. While these in 1759, he willed his score and parts for Messiah can be corrected by the editor of the score or the to the Foundling Hospital in a charitable gesture singer in performance, sometimes Handel placed of gratitude. rhythmic accents on the wrong words entirely. Yet The tradition of performing Messiah at they are so familiar to us now that we don't hear Christmas began later in the 18th century. them as unusual: "For unto us a Child is born," or Although the work was occasionally performed UMS Messiah

during Advent in Dublin, the oratorio was usually ing in the grand "Hallelujah Chorus." The final, regarded in England as an entertainment for the shortest section is an extended hymn of thanks­ penitential season of Lent, when performances of giving, an expression of faith beginning with Job's opera were banned. Messiah's extended musical statement "I know that my Redeemer liveth" and focus on Christ's redeeming sacrifice also makes it closing with the majestic chorus "Worthy is the particularly suitable for Passion Week and Holy Lamb" and a fugal "Amen." In its focus on Week, the periods when it was usually performed Christ's sacrifice Messiah resembles the great during Handel's lifetime. But in 1791, the Lutheran Passions of Schutz and Bach, but with Cascilian Society of London began its annual much less direct narrative and more meditative Christmas performances, and in 1818 the Handel commentary on the redemptive nature of the and Haydn Society of Boston gave the work's first Messiah's earthly mission. Handel scholar Robert complete performance in the US on Christmas Myers suggested that "logically Handel's master­ Day establishing a tradition that continues to piece should be called Redemption, for its author the present. The University Musical Society is a celebrates the idea of Redemption, rather than direct result of this tradition. In 1879, a group of the personality of Christ." local university and townspeople gathered For the believer and non-believer alike, together to study Handel's Messiah', this group Handel's Messiah is undoubtedly a majestic musi­ assumed the name "The Choral Union" and, in cal edifice. But while a truly popular favorite 1880, the members of the Choral Union estab­ around the world, Messiah aspires to more than lished the University Musical Society. just a reputation as an enjoyable musical event. Following the pattern of Italian baroque After an early performance of the work in opera, Messiah is divided into three parts. The London, Lord Kinnoul congratulated Handel on first is concerned with prophecies of the Messiah's the "noble entertainment" he had recently coming, drawing heavily from messianic texts in brought to the city. Handel is said to have replied, the Book of Isaiah, and concludes with an "My Lord, I should be sorry if I only entertained account of the Christmas story that mixes both them; I wished to make them better." Certainly Old and New Testament sources. The second part Messiah carries an ennobling message to people deals with Christ's mission and sacrifice, culminat­ of all faiths and credos, proclaiming "peace on

UMS ARCHIVES

he UMS Choral Union began performing on December 16, 1879 and has presented Handel's Messiah in annual performances. This weekend's performances mark the UMS T Choral Union's 405th and 406th appearances under UMS auspices. This weekend Dr. Blackstone makes his eighth and ninth UMS appearances following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater. The Ann Arbor Symphony Orchestra makes its 51st and 52nd UMS appearances this weekend since their 1974 UMS debut. Harpsichordist Edward Parmentier has performed in the annual UMS presentation of Messiah since 1995 and makes his 23rd and 24th UMS appearances in this week­ end's performances. This weekend also marks the UMS debuts of Jennifer Dudley and Colin Balzer. Janice Chandler- Eteme made her UMS debut in March 2002 at Hill Auditorium as soloist in Brahms's German Requiem. This weekend's concerts mark her fourth and fifth appearances under UMS auspices. Stephen Salters made his UMS debut in December 2003 as soloist with the Boston Pops Esplanade Orchestra. This weekend's concerts mark his second and third appearances on a UMS presentation. UMS Messiah

earth, and goodwill towards men" a message singers that frequently appears with the Detroit that continues to be timely and universal. Symphony Orchestra and the Ann Arbor Symphony and presents yearly performances of Program note by Luke Howard. Handel's Messiah. Choirs prepared by Dr. Blackstone have appeared under the batons of Neeme Ja'rvi, erry Blackstone is Director of Choirs and Nicholas McGegan, Rafael Frubeck de Burgos, Chair of the Conducting Department at the James Conlon, and Yitzak Perlman. Professor University of Michigan School of Music, J Blackstone serves as Director of the University of Theatre & Dance where he conducts the Chamber Michigan School of Music, Theatre & Dance Choir, teaches conducting at the graduate and Summer Programs for High School Students and undergraduate levels, and administers a choral Adults, which includes MPulse Ann Arbor, a series program of 11 choirs. In of music and performing arts camps for high February 2006, he won school students from around the world held on two Grammy Awards the Ann Arbor campus. He also leads the ("Best Choral Perfor­ Michigan Youth Ensembles Program, offering mance" and "Best advanced instrumental and choral ensemble Classical Album") as opportunities in Ann Arbor during the academic chorusmaster for the crit­ year for talented high school students from ically acclaimed Naxos throughout the state of Michigan. recording of William Bolcom's monumental Blackstone Songs of Innocence and mong America's foremost lyric sopranos, of Experience. Dr. Blackstone is the recent recipi­ Janice Chandler-Eteme is renowned for ent of the Maynard Klein Lifetime Achievement a beautiful voice deployed with excep­ Award announced at the annual convention of A tional musicianship, artistry, and conviction. She is the Michigan chapter of the American Choral a particularly accomplished and acclaimed inter­ Directors' Association this past October. preter of Strauss' Four Last Songs, which she has In November, the Chamber Choir presented a performed with Yuri Temirkanov and the special invited performance at the inaugural Baltimore Symphony, national convention of the National Collegiate Daniel Hege and the Choral Organization in San Antonio. Syracuse Symphony, Professor Blackstone is considered one of the Peter Oundjian at the country's leading conducting teachers, and his Grand Teton Music students have received first-place awards and Festival, and Stefan been finalists in both the graduate and under­ Sanderling and the graduate divisions of the ACDA biennial National Florida Orchestra. In the Choral Conducting Awards competition. US News current season she and World Report ranks the graduate conducting ^ , reunites with Maestro programs at the University of Michigan first in the chandier-Eteme Temirkanov for Mahler's nation. Symphony No. 2 with Rome's Santa Cecilia Dr. Blackstone has appeared as festival guest Orchestra, opens the Nashville Symphony with conductor and workshop presenter in 28 states as performances of Mahler's Second Symphony con­ well as in Hong Kong and in Australia. ducted by Leonard Slatkin, and performs in Porgy In April 2004, Dr. Blackstone was named and Bess with the Choral Arts Society of Conductor and Music Director of the UMS Choral Washington at the Kennedy Center. Union, a large chorus of community and university Ms. Chandler-Eteme first gained international UMS Messiah

prominence as a favorite of Robert Shaw, per­ the recent Glimmerglass forming with the Cleveland, Minnesota, and production of Little Florida Orchestras and Baltimore and Atlanta Women, she was des­ Symphonies. She collaborates with several other cribed as "a singing distinguished conductors performing with numer­ actress of immense ous ensembles throughout the US and overseas. talent" by the Toronto Festival invitations include Bard, Grant Park, Globe and Mail. Aspen, Chautauqua, Prague Autumn, Blossom, A former member of and the Berkshire Choral Festival. Recent high­ the Lyric Opera Center lights include Carmina Burana with the for American Artists, Ms. Philadelphia Orchestra and Nashville Symphony; Dudley Dudley returned to the Elijah with Franz Welser-Most and the Cleveland Lyric Opera of Chicago in 1998 as the Dryade in Orchestra, and Barber's Knoxville: Summer of Ariadne auf Naxos. She was lauded by critics 1915 and the Brahms Requiem with Marin Alsop again in 2000 for her portrayal of Myrtle Wilson and the Colorado Symphony. She also made dis­ in The Great Gatsby, followed by Maddalena in tinguished debuts with the Dallas Symphony Rigoletto and Lola in Cavaller/a Rusticana. Ms. (Brahms Requiem); and Pittsburgh Symphony Dudley made her feature debut at New York City (Britten's Ceremony of Carols, Poulenc's Gloria Opera in 1998, reprising Rosmira in Partenope; and Rachmaninoff's The Bells); and the Mozart she returned to NYCO in 2001 in The Mikado, fol­ Mass in c minor with Esa-Pekka Salonen and the lowed by performances of The Glass Blowers in Los Angeles Philharmonic in both Los Angeles and 2002 and Little Women in 2003. Upcoming roles at Carnegie Hall. also include Carmen, Isabella in L'ltaliana in Her recordings to date include There Shall a Algeri, Irene in Tamerlano, and Bradamante in Star: Choral Jewels for Christmas with The Choral Aldna. In addition to her active opera career, Ms. Arts Society of Washington, an English adaptation Dudley's orchestral engagements have included of the Brahms Requiem with the Utah Symphony, the Philadelphia Orchestra, Houston Symphony, and the Dvorak Te Deum with Zdenek Macal and Philharmonia Baroque Orchestra, and the the New Jersey Symphony. Ms. Chandler-Eteme American Symphony Orchestra, in repertoire holds a BA in vocal performance from Oakwood ranging from Handel to Dukas. College and a MM in vocal performance from Born and raised in Portland, Maine, Ms. Indiana University. She has studied with Virginia Dudley received her BA from New York University Zeani, Margaret Harshaw, and Todd Duncan. in French Language and Culture, and her MM from the Manhattan School of Music. She has also trained extensively in theater and dance. ezzo-soprano Jennifer Dudley is a compelling performer in both operatic M and concert venues. She made her n extraordinarily gifted, Germany-based Metropolitan Opera debut in 1999 in young Canadian lyric tenor, Colin Balzer Mefistofeles, and later that season created the A is fast becoming one of the most sought- role of the Tango Singer in The Great Gatsby and after concert soloists of his generation, combining sang Flora in La Traviata. She returned in 2001 for assured musicality and the communicativeness roles in Manor) and Lulu. Ms. Dudley's portrayal of and varied tonal palette of a lieder specialist. His Rosmira in Handel's Partenope captivated audi­ current season promises a US tour with Bernard ences at the Glimmerglass Opera Festival when Labadie and Les Violons du Roy, Paulus with the she debuted there in 1998. At the 2000 Festival Quebec Symphony, St. John Passion with she re-created the role of Geraldine in John Philip Tafelmusik, and a Mozart/Berlioz program for Sousa's 1913 opera The Glass Blowers. As Jo in Music Director James Setapen's farewell concerts UMS 01 Messiah

with the Amarillo Symphony. He has made impor­ inner of both the Queen Elizabeth tant debuts with Bernard Labadie and the New Competition and the Walter W. Jersey Symphony and with Mario Venzago and W Naumburg Prize, Stephen Salters the Indianapolis Symphony, both in the Mozart has performed concert and operatic repertoire Requiem. with the orchestras of Baltimore, Cleveland, With repertoire ranging from Monteverdi to Detroit, Indianapolis, Pittsburgh, St. Louis, San Penderecki, Mr. Balzer has enjoyed critical acclaim Francisco, the Boston on both sides of the Atlantic, working with such Pops, the City of conductors as Helmuth Rilling, Simone Young, Birmingham Symphony Simon Preston, Yoav Talmi, Gabriel Chmura, and Orchestra, Orchestre de Christof Perick, performing with ensembles la Suisse Romande, including the Hungarian and Polish National Philharmonia Baroque Radio Orchestras, Stuttgart Philharmonic, and the Orchestra, the National Oregon, Vancouver, and Quebec Symphonies. Orchestra of Belgium, Particularly esteemed as a recitalist, he has Noordhollands Phil- been welcomed at London's Wigmore Hall harmonisch Orkest, (accompanied by Graham Johnson), the Britten Sailers Orchestre Philharmonique Festival in Aldeburgh, the Vancouver Chamber du Luxembourg, and the Tokyo Philharmonic. In Music Festival, the Wratislavia Cantans in Poland, addition, Mr. Salters has sung at leading Festivals and at the Festspielhaus in Baden-Baden. worldwide, including Aldeburgh, Banff, Recordings to date include Wolf's Italienisches Edinburgh, Ravinia, Tanglewood, BAM's Next Liederbuch and Eisler and Henze song antholo­ Wave, and Bravo! Vail, where he has twice gies. appeared with the Rochester Philharmonic A prizewinner of Holland's Hertogenbosch Orchestra. Competition, the UK's Wigmore Hall Song Mr. Salters' European opera credits include Competition, and Stuttgart, Germany's Hugo the National Opera of Paris, Opera de Nice, Opera ^fj^ft w°lf Competition, Mr. de Rennes, Opera du Rhin, and Opera de Tour in . T^^H Balzer holds the rare dis- such productions as Rigoletto, Madams Butterfly S a^^^lB^H tinction of earning the (Yamadori), Tristan und Isolde (Melot), Billy Budd L' W lf^^ Gold Medal at the Robert (Novice's Friend), Penelope (Eumee), Der * Schumann Competition Freischutz and Giulio Cesare (Curio), and the in Zwickau with the high­ Minotaure in the world premiere of Phillipe est score in 25 years. Fenelon's Les Rois for Opera Bordeaux. In the US, Masterclasses have been he sang the role of Captain Balstrode at with such artists as Phillip Tanglewood under Seiji Ozawa in performances Langridge, Helmut commemorating the 50th anniversary of the Balzer Deutsch, Robert Tear, Elly American premiere of Peter Grimes. Other Ameling, Brigitte Fassbaender, Rudolph Jansen, acclaimed roles have included Count Almaviva in and Christoph Pregardien. Born in British Le Nozze di Figaro, Belcore in L'Elisir d'amore, Columbia, he received his formal musical training Guglielmo in Cos/ fan tutte, Don Giovanni, and at the University of British Columbia with David the title role in the world premiere of Elena Meek and with Edith Wiens at the Hochschule fur Ruehr's Toussaint before the Spirits. A noted Musik Nurnberg/Augsburg. recitalist, Mr. Salters is known worldwide for his musically distinctive and intensely involving per­ formances. . UMS Messiah

dward Parmentier, Professor of Music at his year marks the Ann Arbor Symphony the U-M School of Music (Harpsichord, Early Orchestra's (A2SO) 78th year of exception­ E Music Ensemble), toured in Korea and Japan Tal music making that involves the Ann in spring 2005, performing concerts in Seoul, Arbor community, fires its imagination, and Tokyo, and in various cities in Hokkaido. This past inspires the next generation of listeners. In 1941, season, he performed solo harpsichord recitals at Joseph Maddy (founder of Interlochen Music Oglethorpe University (Atlanta), Hope College Camp) conducted this "mom and pop" orchestra (Holland, Ml), DePaul University (Chicago), of committed and talented amateur musicians. Redeemer Lutheran Since 1986, the A2SO has been a fully profes­ Church (St. Clair Shores, sional orchestra, first under the baton of Carl St. Ml), the U-M School of Clair, followed by Samuel Wong. Over 275 indi­ Music, Theatre & Dance, viduals applied to succeed Maestro Wong, and and at the Michigan through the diligent work of the A2SO musicians, Multiple-Sclerosis Board of Directors, and active feedback from the Rehabilitation Center community, Arie Lipsky was the unanimous (Southfield, Ml). This past choice to lead this orchestra. summer, Mr. Parmentier Maestro Lipsky's distinguished and inspired hosted two U-M summer music making treats growing audiences to Parmentier harpsichord workshops thrilling performances. This past season under Mr. on 17th-century toccata and Bach's Partitas and Lipsky's leadership, the AZSO has been favorably French Overture. He also conducted a workshop compared to both the Leipzig Gewandhaus for pianists and piano teachers in Portland, Orchestra and the Detroit Symphony Orchestra. In Oregon for the Northwest Music Teachers September, a record number of patrons heard a Association and gave masterclasses and lectures transcendent Verdi's Requiem at Hill Auditorium. at Georgia Perimeter College and at Brenau A standing-room-only crowd heard Maestro University in Atlanta. This fall has seen Mr. Lipsky trade his baton for a bow with cellist Matt Parmentier in concert with the Ann Arbor Haimovitz in a Vivaldi Double Cello Concerto. The Symphony Orchestra. Ann Arbor News lauded this October 2006 con­ cert by saying that the "AASO played with a new richness and unprecedented assurance." Please refer to UMS Annals, page P/26 of your Each carefully prepared season features time- program, for complete biographical information honored classics, a variety of less-familiar works on the UMS Choral Union. by the great masters, plus a bouquet of accessible new works by modern composers, including the premiere of a new work by an emerging U-M stu­ dent composer. This past year celebrated Mozart's 250th birthday anniversary with a special musical- theater commission, "Mozart Comes to Ann Arbor." The Orchestra was heard over National Public Radio in November 2004, performing Once Upon a Castle, a commission created by Ann Arbor-based composer Michael Daugherty for the A2SO's 75th anniversary. UMS u>- Messiah

Ann Arbor Symphony Orchestra

Arie Lipsky, Music Director and Conductor Mary Steffek Blaske, Executive Director

Violin I Cello Kathryn Votapek, Concertmaster Sarah Cleveland Stephen B. Shipps Concertmaster Chair Sundelson Endowed Principal Cello Chair Anton Shelepov Vladimir Babin+ University of Michigan Credit Union Mimi Morris-Kirn Associate Concertmaster Chair Weiblen Cello Chair Linda Etter Eileen Brownell Linda Etter Violin Chair Mahjean Quigley-Young Cello Chair Katie Rowan Kirn, Darlene and Taylor Eagle Violin Chair Bass Judy Blank Gregg Emerson Powell* Sarah and Jack Adelson Violin Chair Mercantile Bank of Michigan Principal Bass Chair Kathryn Stepulla Robert Rohwer Yi-Ting Kuo Mitchell Nelson Val Jaskiewicz Oboe Violin II Kristin Reynolds Barbara Sturgis-Everett Gilbert Omenn Principal Oboe Chair A1 Principal Second Violin Chair Honoring Anne Gates Kristy Meretta and Annie Rudisill Yuki Harding David Lamse Yopie Prins Abraham Weiser Violin Chair Sharon Quint Bassoon Brian K. Etter Memorial Violin Chair Melissa Kritzer Anne Ogren £ Daniel Long Principal Bassoon Chair Jackie Livesay Scott Armstrong Jeanine Markley Jinhee Suh Trumpet Denice Turck David Kuehn* David S. Evans III Principal Trumpet Chair Viola Jonathan Poland Megan Mason Tim and Leah Adams Principal Viola Chair Timpani > . Leslie Richards James Lancioni Antione Hackney Viola Chair Sherman and Sylvia Funk Principal Timpani Chair Megan Ferguson Daniel McCarthy * = Principal . . Carolyn Tarzia + = Associate Principal Carolyn Tarzia Viola Chair Gregg Emerson Powell, Personnel Manager Kathleen Grimes, Librarian • • James Wright, Operations Manager UMS Messiah

UMS Choral Union

Jerry Blackstone, Conductor and Musical Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Steven Lorenz, Assistant Conductor Nancy K. Paul, Librarian Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus

Soprano 1 Holly Preston Allison Halerz Bassl Kathryn Border) Dana Rossiter Lynn E. Heberlein Dennis Blubaugh Ann Marie Borders Mary A. Schieve Carol Kraemer Hohnke David Bowen Jamie Bott Kristi Shaffer Josephine Kasa-Vubu Michael Coster Ann K. Burke Sue Ellen Straub Jeenee Lee John Dryden Sandra E. Burke Melissa Swain Jessica Lehr Kenneth A. Freeman Susan F. Campbell DeAnn Teff Cynthia Lunan Timothy Krohn Elizabeth Crabtree Virginia A. Thorne-Herrmann Frances Lyman John Lee Marie Ankenbruck Davis Jane VanSteenis Karla K. Manson George Lindquist Jennifer Freese Catherine Wadhams Patricia Kaiser McCloud Lawrence Lohr Kathleen Gage Barbara Hertz Wallgren Jennifer McFarlane-Harris Steven Lorenz Keiko Goto Dr. Rachelle Barcus Warren Beth McNally Charles Lovelace Kyoung Kim Kathleen A- Young Kathleen Operhall William Malone Allison Lamanna Connie Pagedas Joseph D. McCadden Kathleen Licari Alto 1 Beverly N. Slater Fredy Nagher Meredith Lovelace Olga Astapova Gail Beck Stevens Peter Pirotte Toni Marie Micik Marjane L. Baker Cheryl Utiger Michael Pratt Emily Mitchell Lauren Banach Madeleine A. Vala James Cousins Rhodenhiser Kamilah Neighbors Dody Blackstone Alice VanWambeke Kevin Simons Nancy K. Paul Katherine Brokaw Mary Beth Westin Donald Sizemore Margaret Dearden Petersen Kathryn Drenning Sandra K. Wiley John Paul Stephens Julie Pierce Norma Freeman Susan Wortman Robert Stevenson Mili Reisner Siri Gottlieb William Stevenson Rachel Ridenour Ann Gustitus Tenor ! Steve Telian Kira Rose Laura Kaplan Adam D. Bonarek Jack L. Tocco Vera Sacharin Katherine Klykylo Fr. Timothy J. Dombrowski Thomas L. Trevethan Jennifer Wagner Sobocinski Jan Leventer Steven Fudge Michael Zeddies LeeAnne Green Snyder Jean Leverich Arthur Gulick Elizabeth Starr Carolyn Loh Jason Harris Bass II Ashley Talsma Marilyn Meeker Steve Heath Sam Baetzel Jennifer Tomko Carol Milstein Brent Hegwood William Guy Barast Margie Warrick Caroline E. Mohai John Hodge William Baxter Barbara J. Weathers Catherine P. Morgan, O.P. J. Derek Jackson Harry Bowen Mary Wigton Mary Morse Mark A. Krempski Jeff Clevenger Linda Kaye Woodman Joy Schroeder Adrian Leskiw George Dentel Karen Woollams Cindy Shindledecker David Meitzler Don Faber Susan Sinta Nicholas J. Pharris James Head Soprano II Rhonda Sizemore David Schnerer Rod Little Rebecca Benton Hanna Song Elizabeth Sklar Gerald Miller Mary Bowman Katherine R. Spindler Jeremy Peters Debra Joy Brabenec Ruth A. Theobald Tenor II Jeff Spindler Carol Callan Barbara Trevethan John W. Etsweiler III Robert Stawski Young Cho Barbara Tritten Roy Glover Robert Strozier Cheryl Clarkson Rebecca Wiseman Matthew Gray Terril O. Tompkins Carrie Deierlein Min Kim John F. Van Bolt Catherine Dupuis Alto II Bob Klaffke James Wessel Walker Carol Bearss Fedewa Paula Allison-England Richard A. Marsh Jennifer Jacobson Meredith Ammons AT. Miller Etsuko Koyama Carol Barnhart Carl Smith Nancy Kyro Ellie Christensen Joshua Smith Loretta Lovalvo Anna Chung Patrick Tonks Linda Selig Marshall Alison Cohen Jim Van Bochove Marie Morrison Joan Cooper Andrew Wakefield Ann Orwin Marilyn A. FinkbeinerN Vincent Zuellig Ann Payne Grace K. Gheen Sara Peth Kat Hagedorn urns Michigan Chamber Players Faculty Artists of the University of Michigan School of Music, Theatre & Dance

Yehonatan Berick, Violin Martin Katz, Piano Deborah Chodacki, Clarinet Fred Ormand, Clarinet Anthony Elliott, Ce//o Carmen Pelton, Soprano Christopher Harding, Piano Amy Porter, Flute Caroline Helton, Soprano

Program Sunday Afternoon, December 10, 2006 at 4:00 Rackham Auditorium, Ann Arbor

Franz Schubert Totus in corde langueo, D. 136

Ms. Pelton, Ms. Porter, Mr. Katz

Frank Martin Trois chants de noel Les cadeaux Image de noel Les bergers

Ms. Pelton, Mr. Ormand, Mr. Katz

Maurice Ravel Chansons madecasses Nahandove Aoua! II est doux

Ms. Helton, Mr. Katz, Ms. Porter, Mr. Elliott

INTERMISSION UMS 06/07 Michigan Chamber Players

Olivier Messiaen Quatuor Pour La Fin du Temps (Quartet for the End of Time) Liturgie de cristal; bien modere, en poudroiment harmonieux Vocalise, pour I'ange qui annonce la fin du temps; robuste, modere AbTme des oiseaux; lent, expressif et triste Intermede; decide, modere, un peu vif Louange a I'Eternite de Jesus; infiniment lent, extatique Danse de la fureur, pour les sept trompettes; decide, vigoreaux, grantique, un peu vif Fouillis D'arcs-en-ciel, pour I'ange qui annonce la fin du temps; revenur, presque lent : Louange a I'lmmortalite de Jesus; extremement, lent et tender, extatique

Mr. Berick, Ms. Chodacki, Mr. Elliott, Mr. Harding

41 st Performance of the Thanks to all of the U-M School of Music Faculty Artists for their ongoing 128th Annual Season commitment of time and energy to this special UMS performance.

The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS 06/07 Michigan Chamber Players

Totus in corde langueo, D. 136 there was no piano in the camp yet, and the cello Franz Schubert provided by the German officers was missing one Born January 31, 1797 in Himmelpfortgrund string, Messiaen began to compose his apocalyp­ (now part of Vienna) tic Quartet for the End of Time, inspired by the Died November 19, 1828 in Vienna 10th chapter of St. John's Revelation. Messiaen's title is intentionally ambiguous: it refers to the end of "time" in musical as well as Trois chants de noe'l theological terms. He renounces the division of Frank Martin "musical time" into regular meters and equal Born September 15, 1890 in Geneva, Switzerland durations, adopting instead his own rhythmic pro­ Died November 21, 1974 in Naarden, cedures (partially based on Hindu fa/as) in which The Netherlands . ""-' '" irregular patterns "elongate the temporal" and strive for the Eternal. For Messiaen, the link between theology and music was sacred and Chansons madecasses irrevocable. Maurice Ravel The Quartet has eight movements a number Bom March 7, 1875 in Ciboure, with spiritual significance, as Messiaen explains in Basses-Pyrenees, France his preface to the score: Died December 28, 1937 in Paris Seven is the perfect number, the creation of six days made holy by the divine Sabbath; the Quatuor Pour La Fin du Temps seventh in its repose prolongs itself into eter­ (Quartet for the End of Time) nity and becomes the eighth, of unfailing Olivier Messiaen light, of immutable peace. Born December 10, 1908 in Avignon, France Died April 27, 1992 in Paris The opening movement introduces Messiaen's fascination with bird-song, signifying Nature and And I saw another mighty angel come Divine Love: the dawn songs of the blackbird and down from heaven, clothed with a cloud: nightingale form the "crystal liturgy" of the and a rainbow was upon his head, and his movement's title. In the Vocalise that follows, rep­ face was as it were the sun, and his feet as resentations of the apocalyptic angel's power pillars of fire...and he set his right foot frame a peaceful, reflective recitativo. upon the sea, and his left foot on the Of the third movement (for solo clarinet) earth. And the angel lifted up his hand to Messiaen writes, "The abyss is Time, with its sad­ heaven, and sware by him that liveth for nesses and tediums. The birds are the opposite of ever and ever...that there should be time Time; they are our desire for light, for stars, for no longer. rainbows, and for jubilant outpourings of song." A short interlude leads to the expansive fifth The Revelation of St. John 10:1-2, 5-6 movement for piano and cello, a melodic sermon on the eternal nature of the Word. The sixth Soon after enlisting in the French Army in 1940, movement, according to Messiaen, is "music of Olivier Messiaen was captured and sent to Stalag stone...as irresistible as steel, huge blocks of livid 8-A, a prisoner-of-war camp in Polish Silesia. fury or ice-like frenzy." He describes the "cluster While there, he organized an ensemble from of rainbows" in the seventh movement as an among the other prisoners: a violinist, a clarinetist ecstatic vortex, a "dizzying interpenetration of (both of whom had been allowed to bring their superhuman sounds and colors." instruments with them), and a cellist. Although The final movement's slow ascent into the UMS Michigan Chamber Players

highest registers carries a triple symbolism: the (Maine), Keshet Eilon Mastercourse (Israel), and at ascension of man toward of God, of the Son to the JMC Young Players' Unit (Israel). Mr. Berick the Father, and of the mortal toward paradise. started his musical education at the age of six. He In writing the quartet, Messiaen strove to currently performs on a violin by Honore Derazy comprehend the spiritual immensity of a God- Pere from 1852 and a viola by Stanley Kiernoziak filled universe a striving all the more poignant from 2003. coming as it did from behind barbed-wire enclo­ sures in a time of global war. On January 15, Deborah Chodacki (Clarinet) studied clarinet 1941, Quartet for the End of Time was premiered with Stanley Hasty and Robert Marcellus. She has on old, broken instruments, in sub-zero tempera­ performed in chamber music festivals, in orches­ tures, with Messiaen's 5,000 fellow prisoners at tras, and as soloist with orchestras in the United Stalag 8-A as audience. He later recalled, "Never States and Western Europe, including the North have I been listened to with such attention and Carolina and Grand Rapids symphony orchestras, understanding." the Colorado Philharmonic, the American Chamber Symphony, the Traverse Symphony Program note by Luke Howard. Orchestra, the Skaneateles and Spoleto festivals, and Monterey Summer Music. Prior to her appointment at Michigan, she taught at the A prizewinner at the 1993 Naumburg competi­ Interlochen Arts Academy, and from 1979 to tion, and a recipient of the 96/97 Prix Opus, 1989 she was on the faculty of the East Carolina Yehonatan Berick (Violin) is in high demand University School of Music, Theatre & Dance. internationally as soloist, recitalist, chamber musi­ cian (on violin as well as on viola), and peda­ Anthony Elliott (Cello), a protege of Janos gogue. He has performed with the Quebec, Starker and of Frank Miller, won the Feuermann Windsor, Jerusalem, and Haifa Symphonies; and International Cello Solo Competition which was the Israeli, Cincinnati, Montreal, and Manitoba followed by a highly successful New York recital. Chamber Orchestras. He has collaborated in Mr. Elliott has given masterclasses at most leading chamber music performances with such pianists American conservatories. He is a frequent soloist as Stephen Prutsman and Michael Chertock, with major orchestras, including those of Detroit, David Soyer and Michael Tree of the Guarneri Minnesota, Vancouver, CBC Toronto, and the Quartet, cellists Peter Wiley and Stephen Isserlis, New York Philharmonic. His CD recording of clarinetists Wolfgang Meyer and James Campbell, Kabalevsky, Martinu, and Shostakovich sonatas flutist Julius Baker, and many other international­ received a rave review from Strad Magazine of ly renowned artists. Mr. Berick's festival credits London and was named a "Best Buy of 1991" by include Marlboro, Ravinia, Seattle, Vancouver, the Houston Post. Forthcoming releases include Ottawa, and Jerusalem. Touring as a chamber works by French and Russian composers. In musician with Musicians from Marlboro, The demand as a chamber musician, Mr. Elliott has Lortie-Berick-Lysy Piano Trio, and the Huberman been a guest artist at the Sitka (Alaska) Summer String Quartet, he has been featured in the Music Festival, the Seattle and Texas chamber world's most important music centers. On CD, Mr. music festivals, New York's Blossom Music Berick has recorded for the Centaur, Summit, Festival, Houston's Da Camera Series, and the Gasparo, Acoma, JMC, and Helicon labels. Victoria International Festival. He has performed Previously he has held the position of Professor of as a member of Quartet Canada and as a guest Violin at McGill University, as well as Visiting artist with the Brunswick, Lyric Art, and Concord Professor of Violin at the Eastman School of string quartets. He devotes his summers to teach­ Music. He has been invited as teacher and Artist- ing and performing at the Aspen Music Festival in-Residence at the Bowdoin Music Festival and School. UMS 06/07 Michigan Chamber Players

Christopher Harding (Piano) was born in Gould (Songs from A Child's Garden) in Ann Munich, Germany and raised in Northern Virginia. Arbor and South Bend, Indiana. She annually An active and successful competitor, Professor appears in concerts with the Ann Arbor Festival of Harding has taken 25 first prizes in national and Song, collaborating with pianist Kevin Bylsma, international competitions. Among his achieve­ and has also performed with the Bach Dancing ments are top prizes in competitions sponsored by and Dynamite Society, founded by pianist Jeffrey the American Matthay Society, the National Sykes and flutist Stephanie Jutt. Professor Helton Society of Arts and Letters, the Saint Louis has sung opera, oratorio, chamber music, and Symphony, the Santa Barbara Symphony and recitals in Germany and Italy as well as in the US, Esperia Foundation, the Kingsville International and has also been active as a teacher, clinician, Young Performers' Competitions, and the Grace and adjudicator since she came to Michigan from Welsh Prize for Piano. In 1999, he was awarded North Carolina in 1995. the special "Mozart Prize" at the Cleveland International Piano Competition, given for the Martin Katz (Piano) dubbed "dean of accompa­ best performance of a composition by Mozart. He nists" by The Los Angeles Times, was the 1998 was a semi-finalist in the Calgary Esther Honens recipient of Musical America's "Accompanist of International Piano Competition 2000, one of 27 the Year" award. He regularly collaborates in pianists chosen through worldwide auditions to recitals and on recordings with artists including compete. A trip to Seoul, Korea this fall (his fifth Marilyn Home, Frederica von Stade, Kiri Te since 1999) included lecture recitals and classes at Kanawa, Kathleen Battle, Cecilia Bartoli, David Seoul National University, Ewha Womens Daniels, and Jose Carreras. Highlights of Mr. University, and Dong Duk University. His current Katz's more than 30 years of concertizing with the recording projects include the complete solo world's most celebrated vocal soloists include piano works of Samuel Barber; the complete innumerable recitals at Carnegie Hall, appear­ piano chamber music of Franz Xaver Mozart with ances at the Salzburg Festival, tours in Australia Amy Porter, Aaron Berofsky, Yizhak Schotten, and and Japan, and performances at La Scala, the Anthony Elliott; and the Brahms sonatas for piano Paris Opera, and the Edinburgh Festival. His con­ and violin with Stephen Boe. certs are frequently broadcast both nationally and internationally. His work has been recorded on Caroline Helton (Soprano) joined the University the RCA, CBS, Cetra, BMG, EMI, Phillips, and of Michigan voice faculty in 2000, after having Decca labels. The Metropolitan, Houston, and completed her doctoral work at the same institu­ Ottawa operas have performed his editions of tion in 1998. In December 2005, Professor Helton Baroque and bel canto operas of Handel, Vivaldi, premiered Three Spanish Songs by Matthew and Rossini. At the University of Michigan, in Tommasini with the University of Michigan addition to instruction in ensemble for pianists. Symphony Band, directed by Michael Haithcock. Mr. Katz coaches singers, teaches vocal repertory, She has recently appeared with the Michigan and is a frequent conductor of the School's opera Chamber Players and the Brave New Works productions. Ensemble, with whom she performed Joseph Schwantner's Wild Angels of the Open Hills. Over Fred Ormand (Clarinet) has played with the the last year Professor Helton has sung a series of Chicago, Cleveland, and Detroit symphony recitals in Alabama, North Carolina, Virginia and orchestras and has performed as a soloist with Michigan. She has also had the pleasure of pre- orchestras in the United States, China, and miering works by Vitezslava Kapralova (Sbohem a Europe. He founded and has toured extensively satecek, Leden) with fellow U-M faculty Professor with the Interlochen Arts Quintet and the Dusha Timothy Cheek, Andre Myers (Moon Songs), Tom Quartet. Formerly a faculty member at several Schnauber (Liebeslieder fur Vogel), and Gabriel leading American universities, he was visiting pro- UMS Michigan Chamber Players

fessor at the Shanghai Conservatory in 1988. In Amy Porter (Flute) was recently awarded the 1995 he gave master classes in England, 2006 Henry Russel Award from the University of Denmark, and Sweden. Since 1988 Professor Michigan for distinguished scholarship and con­ Ormand has been a member of the summer fac­ spicuous ability as a teacher. This is only the third ulty at the Music Academy of the West. From time since 1926 that this award has been given to 1990 to 1992, Professor Ormand served as presi­ a U-M School of Music Professor. Recently, she dent of the International Clarinet Association and served as the American jury member of the 2005 is often invited to perform at the international Kobe International Flute Competition in Kobe, conferences of this group. In recent years he has Japan. Ms. Porter recently premiered her arrange­ published editions of the music for winds of ment of Six Songs by Benjamin Godard, published Amilcare Ponchielli. In 1996 he released a com­ by Little Piper, and has produced a study guide pact disc on Danacord Records titled // Convegno, DVD for the Karg-Elert Caprices for Solo Flute. a premiere recording of Ponchielli's solo works for International prizes include: 2001 Deuxieme Prix winds. at the ParisA/ille d'Avray International Flute Competition in France, and the Alphonse Leduc Carmen Pelton (Soprano) has appeared in a Prize for outstanding musicianship; 1993. Kobe wide range of works with orchestras, opera hous­ International Flute Competition in Kobe, Japan es, chamber music groups, Equity drama theaters and the Special Prize for the best performance of and Off-Broadway productions. Conductors have the commissioned work required at the competi­ included Robert Shaw, Jeffrey Tate, Donald tion; and First Prize at the 1990 National Flute Runnicles, Patrick Summers, Gerard Schwarz, and Association Competition in the US. From Nicholas McGegan with such diverse groups as 1991-99, she was Associate Principal Flute of the the San Francisco Symphony, Atlanta Symphony, Atlanta Symphony. Ms. Porter has performed as Baltimore Symphony, St. Paul Chamber Orchestra, principal flute with the orchestras of Atlanta, Scottish Opera, Goodman Theater, the Houston, and Boston. She has been heard in Smithsonian's 21st-century Consort, the New recital on NPR, featured on the cover of Flute Talk York Festival of Song, and the Library of Congress. Magazine, and highlighted on PBS's Live From Recent premieres include works by Mark Adamo Lincoln Center. She received her BA and MM at Carnegie Hall and Augusta Read Thomas at the degrees from The Juilliard School. Ms. Porter Kennedy Center. Ms. Pelton's performances are serves as a founding member and Past President on two recently released recordings: Barber's of the Southeast Michigan Flute Association and Knoxville: Summer of 1915 with Pro Musica is on the Board of the National Flute Association. Orchestra and the Naxos recording of William Bolcom's Songs of Innocence and of Experience (winner of four Grammy Awards), as well as one of Robert Shaw's last recordings with the Atlanta Symphony: Barber, Bartok, and Vaughan- Williams, which won a Grammy for "Best Classical Album of the Year." She is also on the faculty at the Brevard Music Center in North Carolina.