UNIVERSITY MUSICAL SOCIETY ARLEEN AUGER Soprano

STEVEN BLIER, Pianist

Sunday Afternoon, October 27, 1991, at 4:00 Hill Auditorium, Ann Arbor, Michigan

Der Knabe (Friedrich Schlegel), D. 692 Im Fruhling (Ernst Schulze), D. 882 (1797-1878) Wehmut (Matthaus von Collin), D. 772 Gretchen am Spinnrade (Johann Wolfgang von Goethe), D. 118 Friihlingsglaube (Johann Ludwig Uhland), D. 686 Ganymed (Johannes Wolfgang von Goethe), D. 544

Four Mignon Songs (Goethe) Hugo Wolf Heiss mich nicht reden (1860-1903) Nur wer die Sehnsucht kennt So lasst mich scheinen Kennst du das Land

INTERMISSION

Sure on this shining night (James Agee), Samuel Barber Op. 13, No. 2 (19104981) Sleep now (James Joyce), Op. 10, No. 2 Nocturne (Frederic Prokosch), Op. 13, No. 4

Four Songs on Emily Dickinson texts Aaron Copland Going to Heaven (1900-1990) Heart, we will forget him Why do they shut me out of heaven? There came a wind like a bugle

Snake (Theodore Roethke) Ned Rorem The Silver Swan (Orlando Gibbons) (b. 1923) The Nightingale (about 1500 A.D.) Rain in Spring (Paul Goodman) Early in the Morning (Robert Hillyer) A Birthday (Christina Rossetti)

The Serpent (Theodore Roethke) Lee Hoiby (b. 1926) The Musical Society wishes to thank Richard LeSueur for this afternoon's Philips Pre-concert Presentation. Arleen Auger is represented by Columbia Artists Management Inc., . Steven Blier plays the Steinway piano available through Hammell Music, Inc., Livonia. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts.

Ninth Concert of the 113th Season 113th Annual Choral Union Series Program Texts and Translations

FRANZ SCHUBERT Der Knabe, D. 692 (Schlegel) The Boy Wenn ich nur ein Voglein ware, If only I were a bird, Ach, wie wollt ich lustig fliegen, Ah, how joyfully I would fly, Alle Vogel weit besiegen. Far outstripping all other birds. Wenn ich so ein Vogel bin If I were a bird Darf ich alles haschen I could get everything Und die hochsten Kirschen naschen. And nibble the highest cherries. Fliege dann zur Mutter hin. Then I'd fly back to mother. 1st sie bos in ihrem Sinn, If she were angry Kann ich lieb mich an sie schmiegen, I could nestle sweetly up to her Ihren Ernst gar bald besiegen. And soon overcome her sternness. Bunte Federn, leichte Fliigel Colored feathers, light wings, Durft ich in der Sonne schwingen, I could flap them in the sunlight. Dass die Lufte laut erklingen, So that the air resounded loudly, Weiss nichts mehr von Band und Ziigel. I would no longer be curbed and shackled. War ich iiber jene Hiigel, If I were beyond those hills, Ach, dann wollt ich lustig fliegen, Ah, how joyfully I would fly, Alle Vogel weit besiegen. Far outstripping all other birds.

Im Friihling (Schulze) In Spring Still sitz ich an des Hiigels Hang, Silently, I sit on the hillside, Der Himmell ist so klar, the heavens are so clear, Das Liiftchen spielt im griinen Tal, the breeze plays in the green valley, Wo ich beim ersten Friihlingasstrahl where, in spring's first gleam, Einst, ach so gliicklich war; I was once, ah, so happy. Wo ich an ihrer Seite ging Where at her side I walked, So traulich und so nah, so fondly and so close, Und tief im dunklen Felsenquell and, deep in the dark rocky stream, Den schonen Himmel blau und hell, saw the fair heavens blue and bright, Und sie im Himmel sah. and in the heavens her too. Sieh, wie der bunte Friihling schon See, how gaily-colored spring Aus Knosp und Bliite blickt! peeps from bud to blossom! Nicht alle Bliiten sind mir gleich, All blossom is not alike to me, Am liebsten pfliickt ich von dem Zweig, most gladly from that branch I'd pick Von welchem sie gepfliickt! from which she once picked. Denn alles ist wie damals noch, For all is still as once it was, Die Blumen, das Gefild; the flowers and the field; Die Sonne scheint nicht minder hell, no less brightly shines the sun, Nicht minder freundlich schwimmt im Quell and no less kindly in the stream Das blaue Himmelsbild. heaven's blue image floats. Es wandeln nur sich Will und Wahn, Will and delusion, they only change, Es wechseln Lust und Streit; joy alternates with quarrel, Voriiber flieht der Liebe Cluck, happiness of love flies by, Und nur die Liebe bleibt zuruck, and love alone remains, Die Lieb und ach, das Leid! love, and ah, the pain. O war ich doch ein Voglein nur Oh, if only I were a tiny bird, Dort an dem Wiesenhang, there on the meadow's bank, Dann blieb ich auf den Zweigen hier, then on these branches here I'd stay, Und sang ein susses Lied von ihr, and sing a sweet song of her, Den ganzen Sommer lang. all the summer through. Wehmut, D. 772 (Collin) Melancholy Wenn ich durch Wald und Fluren geh', When I walk through wood and field, es wird mir dann so wohl und weh so happy then I feel and sad in unruhvoller Brust. in my restless heart. So wohl, so weh, wenn ich die Au So happy, so sad, when I see in ihrer Schonheit Fiille schau', the meadow in its full beauty, und all die Fruhlingslust. and all the joy of spring. Denn was im Winde tonend weht, For what blows sonorous in the wind, was aufgettirmt gen Himmel steht, what stands towering to heaven, und auch der Mensch, so hold vertraut and man too, so familiar mit all' der Schonheit, die er schaut, with all the beauty that he sees, entschwindet und vergeht. vanishes and dies.

Gretchen am Spinnrade (Goethe) Gretchen at the Spinning-wheel Meine Ruh ist hin, My peace is gone, Mein Herz ist schwer, my heart is sore, Ich finde sie nimmer never shall I find Und nimmermehr. peace ever more. Wo ich ihn nicht hab, Where he is not, Ist mir das Grab, there is my grave, Die ganze Welt all the world Ist mir vergallt. to me is gall. Mein armer Kopf My poor head Ist mir verriickt, is crazed, Mein armer Sinn my poor wits Ist mir zerstiickt. destroyed. Nach ihm nur schau ich Only for him I gaze Zum Fenster hinaus, from the window, Nach ihm nur geh ich only for him I go Aus dem Haus. from the house. Sein hoher Gang, His superior walk, Sein' edle Gestalt, his noble air, Seines Mundes Lacheln, his smiling mouth, Seiner Augen Gewalt. his compelling eyes. Und seiner Rede And his words Zauberfluss, their magic flow, Sein Handedruck, the caress of his hand, Und ach, sein Kuss! and ah, his kiss! Mein Busen dra'ngt My heart craves Sich nach ihm hin; for him; Ach, diirft ich fassen oh, to clasp Und halten ihn, and to hold, Und kiissen ihn, and kiss him, So wie ich wollt, just as I liked, An seinen Kiissen and in his kisses Vergehen sollt! pass away!

Fruhlingsglaube, D. 686 (Uhland) Spring Faith Die linden Liifte sing erwacht, Gentle breezes are awake, Sie sauseln und weben Tag und Nacht, murmuring, stirring night and day, Sie schaffen an alien Enden. everywhere active, creative. O frischer Duft, o neuer Klang! Oh fresh fragrance, oh new sounds! Nun, armes Herze, sei nicht bang! Now, poor heart, be not afraid. Nun muss sich alles, alles wenden. Now must all things, all things change. Die Welt wird schoner mit jedem Tag, Daily the world grows fairer, Man weiss nicht, was noch werden mag, what may yet come, we do not know, Das Bliihen will nicht enden; to blooming there is no end; Es bliiht das fernste, tiefste Tal: the farthest, deepest valley blooms: Nun, armes Herz, vergiss der Qual! now, poor heart, forget your torment. Nun muss sich alles, alles wenden. Now must all things, all things change.

Ganymed, D. 544 (Goethe) Ganymede Wie im Morgenglanze How in the morning radiance Du rings mich angliihst, you glow upon me all around, Friihling, Geliebter! Spring, beloved! Mit tausendfacher Liebeswonne With thousandfold love-bliss Sich an mein Herz drangt to my heart presses itself Deiner ewigen Warme your eternal warmth's Heilig Gefiihl, sacred touch, Unendliche Schone! unending beauty! Dass ich dich fassen mocht That I might clasp you In diesen Arm! in these arms! Ach, an deinem Busen Ah, at your bosom Lieg ich, schmachte, I lie, languish, Und deine Blumen, dein Gras and your flowers, your grass Drangen sich an mein Herz. press themselves to my heart. Du kiihlst den brennenden You cool the burning Durst meines Busens, thirst of my bosom, Lieblicher Morgenwind! lovely morning wind! Ruft drein die Nachtigall The nightingale calls me Liebend nach mir aus dem Nebeltal. lovingly from the valley vale. Ich komm, ich komme! I come, I come! Wohin? Ach, wohin? Where? Ah, where? Hinauf! Hinanuf strebt's. Upwards! Upwards it strives. Es schweben die Wolken The clouds float Abwarts, die Wolken downward, the clouds Neigen sich der sehnenden Liebe. bow themselves to longing love. Mir! Mir! To me! To me! In euerm Schosse In your lap, Aufwarts! Upwards! Umfangend umfangen! Embracing embraced! Aufwarts an deinen Busen, Upwards to your bosom, Alliebender Vater! All-loving Father! HUGO WOLF Four Mignon Songs (von Goethe)

Heiss mich nicht reden Bid Me not Speak Heiss mich nicht reden, heiss' mich Bid me not speak, bid me be schweigen silent Denn mein Geheimnis ist mir Pflicht; for I am bound to secrecy; Ich mochte dir mein ganzes Innre you would I show all that is zeigen, within, Allein das Schicksal will es nicht. but fate will not have it so. Zur rechten Zeit vertreibt der Sonne At the due time the sun's career Lauf banishes Die finstre Nacht, und sie muss sich dark night, and it must grow erhellen; light; Der harte Pels schliesst seinen Busen auf, the unyielding rock unlocks its bosom, Missgonnt der Erde nicht die Grudges not the earth her deep-hid tiefverborgnen Quellen. springs. Ein jeder sucht im Arm des Freundes Everyone, in a friend's arms, seeks Ruh, peace, Dort kann die Brust in Klagen sich there the heart can pour forth its ergiessen; complaint; Allein ein Schwur driickt mir die but an oath seals tight my Lippen zu, lips, Und nur ein Gott vermag sie a god alone can open aufzuschliessen. them.

Nur wer die Sehnsucht kennt Only One Who Knows Longing Nur wer die Sehnsucht kennt, Only one who knows longing Weiss, was ich leide! can understand what I suffer! Allein und abgetrennt Alone and bereft Von aller Freude of all joy, Seh ich ans Firmament I look at the sky Nach jener Seite. yonder. Ach! der mich liebt und kennt, Ah, he who loves and understands me 1st in der Weite. is far away. Es schwindelt mir, es brennt I faint. Fire burns Mein Eingeweide. within me. Nur wer die Sehnsucht kennt, Only one who knows longing Weiss, was ich leide! can understand what I suffer!

So lasst mich scheinen So Let Me Seem So lasst mich scheinen, bis ich werde; So let me seem, until I become so; Zieht mir das weisse Kleid nicht aus! do not divest me of my white garment! Ich eile von der schonen Erde I am hastening from the beautiful earth Hinab in jenes feste Haus. down to that impregnable house. Dort ruh ich eine kleine There I shall rest a little while in Stille, tranquillity, Dann offnet sich der frische Blick; then a fresh vision will open up; Ich lasse dann die reine Hiille, I shall leave behind then the pure raiment, Den Giirtel und den Kranz zuriick. the girdle and the wreath. Und jene himmlischen Gestalten, And those heavenly beings do not Sie fragen nicht nach Mann und Weib, concern themselves with man and woman, Und keine Kleider, keine Falten and no garments, no robes, Umgeben den verklarten Leib. cover the transfigured body. Zwar lebt ich ohne Sorg und Miihe, True, I have lived without trouble and toil, Doch fiihlt ich tiefen Schmerz genung. yet I have felt deep pain enough, Vor Kummer altert ich zu friihe Through sorrow I have aged too early Macht mich auf ewig wieder jung! O make me forever young again!

Kennst du das Land Do You Know the Land Kennst du das Land, wo die Zitronen Do you know the land, where the bluhn, lemons blossom, im dunklen Laub die Goldorangen the oranges glow golden amongst dark gliihn, leaves, ein sanfter Wind vom blauen Himmel a gentle wind blows from the blue weht, sky, die Myrte still und hoch der Lorbeer the myrtle stands silent, the laurel steht? tall? Kennst du es wohl? Dahin, dahin Do you know it? There, there mocht ich mit dir, o mein Geliebter, would I go with you, my ziehn! love! Kennst du das Haus, auf Saulen ruht Do you know the house? On pillars rests sein Dach, its roof, es glanzt der Saal, es schimmert das its hall gleams, its apartment Gemach, shimmers, Und Marmorbilder stehn und sehn and marble statues stand and gaze at mich an: me: was hat man dir, du armes Kind, What have they done to you, poor getan? child? Kennst du es wohl? Dahin, dahin Do you know it? There, there mocht' ich mit dir, o mein Beschiitzer, would I go with you, my ziehn! protector! Kennst du den Berg und seinen Do you know the mountain and its Wolkensteg? cloudy path? Das Maultier sucht im Nebel seinen The mule seeks its way in the Weg, mist, In Hohlen wohnt der Drachen alte in caves the ancient brood of dragons Brut, dwells, es stiirzt der Pels und iaber ihn die the rock falls sheer, and over it, Flut: the flood; kennst du ihn wohl? Dahin! dahin do you know it? There, there geht unser Weg; o Vater, lies our way! O father, lass uns ziehn! let us go!

Songs by American Composers SAMUEL BARBER

Sure on this shining night sleep no more, sleep no more" Op. 13, No. 2 (Agee) My kiss will give peace now Sure on this shining night And quiet to your heart Of star-made shadows round, Sleep on in peace now, Kindness must watch for me O you unquiet heart! This side the ground. The late year lies down the north. Nocturne, Op. 13, No. 4 (Prokosch) All is healed, all is health. Close my darling both your eyes, High summer holds the earth. Let your arms lie still at last. Hearts all whole. Calm the lake of faslehood lies Sure on this shining night And the wind of lust has passed, I weep for wonder, wand'ring far alone Waves across these hopeless sands Of shadows on the stars. Fill my heart and end my day, Underneath your moving hands Sleep now, Op. 10, No. 2 (Joyce) All my aching flows away. Sleep now, O sleep now, Even the human pyramids O you unquiet heart! Blaze with such a longing now: A voice crying "Sleep now" Close, my love, your trembling lids, Is heard in my heart. Let the midnight heal your brow. The voice of the winter Northward flames Orion's horn, Is heard at the door. Westward th'Egyptian light. O sleep, for the winter, None to watch us, none to warn Is crying, "Sleep no more, But the blind eternal night. AARON COPLAND

Four songs on texts by Emily Dickinson

Going to Heaven! Why do they shut me out of heaven (To Lukas Foss) (To Ingolf Dahl) A kind of spiritual that ends in disillusion. A recitative with suggestions of blue notes. The poet cannot believe in it but she Why do they shut me out of Heaven, is glad that others did. Did I sing too loud? Going to Heaven! But I can say a little minor, I don't know when Timid as a bird. Pray do not ask me how Wouldn't the angels try me Indeed I'm too astonished Just once more. To think of answering you. Just see if I troubled them, Going to Heaven! But don't shut the door. How dim it sounds. Oh, if I were the gentlemen And yet it will be done In the white robes As sure as flocks go home at night And they were the little hand that knocked, Unto the shepherd's arm! Could I forbid? Perhaps you're going too! Why do they shut me out of Heaven, Who knows? Did I sing too loud? If you should get there first Save just a little place for me There came a wind like a bugle Close to the two I lost (To Elliott Carter) The smallest "robe" will fit me And just a bit of "crown" A stormy scene of terrifying intensity, For you know we do not mind our dress with church bells ringing. When we are going home. There came a wind like a bugle Going to Heaven! It quivered through the grass, I'm glad I don't believe it And a green chill upon the heat For it would stop my breath So ominous did pass. And I'd like to look a little more We barred the window and the doors At such a curious earth. As from an emerald ghost I'm glad they did believe it The doom's electric moccasin Whom I have never found That very instant passed. Since the mighty autumn afternoon, On a strange mob of panting trees I left them in the ground. And fences fled away. And rivers where the houses ran Heart, we will forget him The living looked that day, (To Marcelle de Manziarly) The bell within the steeple wild A love song but, as in Old Poem and The flying tidings whirled. Poet's Song, sad with reminiscences. How much can come Heart, we will forget him. And much can go, You and I, tonight. And yet abide the world. You may forget the warmth he gave. I will forget the light. When you have done, pray tell me, That I my thoughts may dim Haste, lest while you're lagging, I may remember him. NED ROREM

Snake (Roethke) Rain in Spring (Goodman) I saw a young snake glide There fell a beautiful clear rain Out of the mottled shade With no admixture of fog or snow And hang, limp on a stone: And this was and no other thing A thin mouth, and a tongue The very sign of the start of Spring. Stayed, in the still air. Not the longing for a lover It turned; it drew away; Nor the sentiment of starting over, Its shadow bent in half; But this clear and refreshing rain It quickened and was gone. Falling without haste or strain. I felt my slow blood warm. I longed to be that thing, Early in the Morning (Hillyer) The pure, sensuous form. Early in the morning And I may be, some time. Of a lovely summer day, As they lowered the bright awning The Silver Swan (Gibbons) At the outdoor cafe, I was breakfasting on croissants The silver swan, who living had no note, And cafe au lait When death approached unlocked her Under greenery like scenery, silent throat; Rue Francois Premier. Leaning her breast against the reedy shore, Thus sung her first and last, They were hosing the hot pavement and sung no more; With a dash of flashing spray Farewell, all joys; O death, come close And a smell of summer showers When the dust is drenched away. my eyes; More geese than swans now live, Under greenery like scenery, more fools than wise. Rue Francois Premier. I was twenty and a lover The Nightingale (about 1500 A.D.) And in Paradise to stay, Very early in the morning The little pretty nightingale Of a lovely summer day. Among the leaves so green Would I were with her all the night! But ye know not whom I mean, A Birthday (Rossetti) But ye know not whom I mean! My heart is like a singing bird The nightingale sat on a briar Whose nest is in a watered shoot; Among the thorns so keen My heart is like an apple-tree And comforted my heart's desire Whose boughs are bent with thick-set fruit; But ye know not whom I mean, My heart is like a rainbow shell Ye know not whom I mean. That paddles in a halcyon sea; My heart is gladder than all these It did me good on her to look; Because my love is come to me. She was all clothed in green. Away from me her heart she took Raise me a dais of silk and down; But ye know not whom I mean. Hang it with vair and purple dyes; Carve it in doves and pomegranates, "Lady," I cried with rueful moan, And peacocks with a hundred eyes; Mind ye how true I have been. Work it in gold and silver grapes, For I loved but you alone In leaves and silver fleurs-de-lys; Yet ye know not whom I mean, Because the birthday of my life Yet ye know not whom I mean. Is come, my love is come to me. About the Artists merican soprano Arleen Auger is acclaimed worldwide in re­ cital, concert, recordings, and on the operatic stage. She has performed in over 50 major EuropeanA and American festivals and has made 13 worldwide recital tours. Her collab­ orations with conductors such as Abbado, Bernstein, Bohm, Chailly, Haitink, Hog- wood, Maazel, Masur, Muti, Ozawa, Pin- nock, Rattle, Solti, and Tennstedt, composers Ned Rorem and Libby Larsen, and pianists Misha Dichter, Murray Perahia, and Roger Vignoles continue to be lauded, as does the luminous quality of her voice and her superb musicianship. Like several of America's most distin­ guished singers, Miss Auger, who was bom in Los Angeles, enjoyed her first major successes in Europe. Since her State Opera Debut as Queen of the Night in a 1967 production of , she has be­ come a familiar figure in the world's most prestigious concert halls and opera houses, recordings on more than ten labels and has including the , La Scala, been distinguished by awards including the , Carnegie Hall, Avery Grand Prix du Disque, the Edison Prize, the Fisher Hall, the Concertgebouw, and Royal Deutscher Schallplattenpreis, the Ovation Festival Hall. In 1986, Miss Auger was seen Award, and Grammy nominations. Included by over 700 million television viewers as she in the discography are 40 albums of Bach sang Mozart's Exsultate, jubilate at the Royal cantatas and other sacred music with the Wedding of Britain's Prince Andrew and Miss renowned Bach specialist, . Sarah Ferguson, the Duke and Duchess of Among Miss Auger's recent recording York. releases are Monteverdi's L'Incoronazione di Arleen Auger's discography, ranging Poppea with Hickox and the City of London from Bach to Schoenberg, numbers over 170 Sinfonia (Virgin), Mozart's Mass in C Minor

LEE HOIBY

The Serpent (Roethke) They bought a Drum. He wouldn't There was a Serpent who had to sing. Whack it. There was. There was. They sent, you always send, to Cuba He simply gave up Serpenting. And got a Most Commodious Tuba; Because. Because. They got a Horn, they got a Flute, He didn't like his Kind of Life; But Nothing would suit. He couldn't find a proper Wife; He said, "Look, Birds, all this is futile: He was a Serpent with a soul; I do not like to Bang or Tootle." And then he cut loose with a Horrible Note He got no Pleasure down his Hole. That practically split the top of His Throat. And so, of course, he had to Sing, "You see," he said, with a Serpent's Leer, And Sing he did, like Anything! The Birds, they were, they were astounded; "I'm serious about my Singing Career!" And the Woods Resounded with many a Shriek And various Measures Propounded As the Birds flew off to the End of Next Week. To stop the Serpent's Awful Racket: with Hogwood and the Academy of Ancient Music (Decca), Mozart's Don Giovanni with Oestman and the Drottningholm Opera Or­ chestra and Chorus (Decca), The Complete Songs of Franz Schubert Vol /X with pianist Graham Johnson (Hyperion), and Haydn's Creation with Rattle and the City of Birming­ ham Symphony Orchestra (EMI). Due to be released are Mozart's Moss in C Minor and Exsultate, jubilate with and the Bavarian Radio Orchestra (DGG), Handel's Orlando with Hogwood and the Academy of Ancient Music (Decca), and Mozart's Moss in C Minor with Abbado and the Berlin Philharmonic (Sony). Arleen Auger began her 1991-92 sea­ son performing Mozart's in Philadel­ phia and Carnegie Hall with The Philadelphia Orchestra conducted by Riccardo Muti, and next month (November 21, 22, 23), she returns to our area to sing an all-Mozart program with the Detroit Sym­ phony Orchestra conducted by Raymond Leppard. She is featured in an all-Mozart program of chamber music with Murray Per- ahia at Carnegie Hall and in Chicago, Vi­ enna, Paris, and London, and also performs chamber works with the Chamber Music Society of Lincoln Center. The 92nd Street "Y" presents Miss Auger in recital with pianist Warren Jones as she begins a recital tour of the southern United States presenting a pro­ gram of American music. She then joins Ann Arbor concertgoers remember Ar­ Michael Tilson Thomas and the New World leen Auger's Ann Arbor debut in 1987, when Symphony Orchestra in Miami to perform she sang Mozart's Exultate, jubilate and in Copland's Emily Dickinson Songs. Beethoven's Ninth Symphony with Kurt Also this season, Miss Auger performs Masur and the Leipzig Gewandhaus Orches­ with orchestras in Birmingham, London, tra. She now gives her first Ann Arbor recital. Hamburg, Salzburg, Vienna, Zurich, Mu­ nich, Stuttgart, and Bonn, and gives recitals in Italy, Belgium, Germany, Finland, and Switzerland, among others. On December 5, 1991, Miss Auger sings Mozart's Requiem with the conducted by Sir in a concert that commemorates the exact 200th anniversary of Mozart's death. Finally, Miss Auger rounds out her season with a tour of the Far East for song recitals and performances in Japan with the NHK Orchestra. teven Blier is an eminent accom­ panist and vocal coach, whose ca­ reer has taken him to the stages of Carnegie Hall, the Ravinia Festi­ val, Israel's Jerusalem Festival, and AveryS Fisher Hall for the Mostly Mozart Festival. Among the many artists he has partnered in recital are Evelyn Lear, Thomas Stewart, Catherine Malfitano, John Cheek, and Roberta Peters. In the current season, he makes his first appearances with Maureen Forrester, Arleen Auger, and June Anderson. He has also assisted such artists as and Joan Morris in their musical preparation for orchestral engagements. Mr. Blier is founder and co-artistic director of the New York Festival of Song. The Festival's second season opened in Sep­ tember 1989 with the United States premiere of Leonard Bernstein's last work, Arias and Barcarolles, which was broadcast by National Public Radio. Their recording of this work for Koch International Classics won a 1991 Grammy Award. Two of his concerts from the 1990-91 season were also taped by NPR: "Unquiet Peace," featuring songs of Zemlinsky, Eisler, and Weill, with soprano extends to a solo program of ragtime, blues, Cyndia Sieden, and "Ticket to Ride," de­ and stride piano pieces by composers ranging voted to the songs of Lennon and McCartney, from Copland to Eubie Blake. His renditions sung by Marsha Hunter and Brian Kent. of William Bolcom's Ghost Rags were broad­ One of Mr. Blier's primary musical cast by NPR, and the Canadian Broadcasting collaborations has been his long-term part­ Company televised his performance of music nership with baritone William Sharp. High­ by James P. Johnson this past summer. A lights of their musical teamwork have champion of American music, he has pre- included taking first prize in the Carnegie miered works by Aaron Kemis, Bolcom, Lee Hall American Music Competition in Sep­ Hoiby, and John Musto. tember 1987, their Carnegie Hall recital Teaching has taken Steven Blier to the debut in February 1989, and a 1990 Grammy Aspen Music Festival and the Chautauqua Award nomination for their debut recital Festival. He has also given master classes at album on New World Records. Their record­ colleges and music festivals across the coun­ ings also include discs of songs by Bernstein, try. Just last week, he conducted a master Gershwin, and Blitzstein. Mr. Blier's sched­ class on American Song Literature at the uled releases for this year are recordings of Manhattan School of Music during faculty Ives, Pfitzner, Schoeck, and Busoni with Mr. member Marlena Kleinman Malas' Third An­ Sharp, South American songs with the 1985 nual Malas Classes; other master teachers Naumberg Award winner Christopher were Warren Jones and Stephen Wadsworth. Trakas, and two albums of British songs with Currently on the faculty of the State Glen Siebert. University of New York at Purchase, Mr. Music consultant for this year's Richard Blier, a native New Yorker, completed his Tucker Gala Concert at Avery Fisher Hall, undergraduate degree at Yale University, in its first all-American music program, he where his teacher was Alexander Farkas. will also be pianist for Samuel Ramey and After graduating with an Honors Degree in Dolora Zajick that evening. English Literature, he continued his studies Mr. Blier first came to prominence as at Juilliard with Martin Isepp. accompanist and arranger for the noted cab­ The pianist now makes his Ann Arbor aret singer Martha Schlamme. His repertoire debut in partnership with Arleen Auger. The University Musical Society is proud to accept The 1991 Governors' Arts Organization Award This award honors the UMS for excellence and longevity in programming and presentation of outstanding national and international artists and events.

The Awaid designed by Matthew C. Hoffmam The Concerned Citizens for the Arts in Michigan is dedicated to the belief that the arts must be a part of our everyday lives, both at work and at leisure. The Musical Society applauds this very worthy effort and mission. This CCAM Governors' Arts Award serves to promote and support the arts in Michigan as one of the state's most precious resources. The University Musical Society is delighted to receive this award and appreciates the recognition of the UMS commitment to presenting the finest international artists of our time. It is with the support of you, our patrons and contributors, that we have continued this tradition for 113 seasons. We salute you!

Seventh Annual Governors' Arts Awards Ceremony and Dinner Clubland at the State Theatre Detroit Michigan Monday, November 4,1991