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Fall 2011 Season 133rd Annual Season

General Information Event Program Book Sunday, November 27 through Wednesday, December 7, 2011 On-site ticket offices at performance venues open 90 minutes before each performance. Canadian Brass Children of all ages are welcome at Sunday, November 27, 4:00 pm UMS Family and Youth Performances. Hill Auditorium Children under the age of three will not be admitted to regular, full-length UMS performances. All children must be able Handel's Messiah to sit quietly in their own seats without Saturday, December 3, 8:00 pm disturbing other patrons. Children Sunday, December 4, 2:00 pm unable to do so, along with the adult Hill Auditorium accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a London Philharmonic Orchestra 25 child. Tuesday, December 6, 7:30 pm Hill Auditorium Remember, everyone must have a ticket, regardless of age. Stile Antico 33 While in the Auditorium Wednesday, December 7, 7:30 pm St. Andrew's Episcopal Church Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.

Cameras and recording equipment are prohibited in the auditorium.

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

Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance- free.

In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. Fall 2011 Winter 2011

\ September i January 17 ; An Evening with Ahmad Jamal 8 ! National Theatre Live: The Collaborators 18 | Emerson String Quartet 20-22 I Einstein on the Beach 23-24! Mark Morris Dance Group 23 ; Denis Matsuev, piano 25 I Dan Zanes & Friends 28 ! Les Violons du Roy with Maurice Steger, i recorder | October 29 i Hamburg Symphony Orchestra with 1 | John Malkovich and Musica Angelica ; Francesco Tristano, piano: Messiaen's ! Baroque Orchestra: The Infernal Comedy: i From the Canyons to the Stars \ Confessions of a Serial Killer 9 i Yuja Wang, piano i February 9 i National Theatre Live: One Man, Two 4 i Sabine Meyer and the Trio di Clarone i Guvnors 10 ; Chamber Ensemble of the Shanghai 13 i State Symphony Capella of Russia : Chinese Orchestra 15 i Goran Bregovic and His Wedding and 12 ; Michigan Chamber Players i Funeral Orchestra 16 \ The Tallis Scholars 21-22 ! Cloud Gate Dance Theatre of Taiwan: 17 : Sweet Honey In The Rock i Water Stains on the Wall 18 : Wayne McGregor I Random Dance: FAR 27 I Schola Cantorum de Venezuela 19 I FELA! (at Music Hall, Detroit) 27-29 ! Gate Theatre Dublin: Beckett's 19 ! National Theatre Live: Travelling Light I Endgame and Watt 22 ; Jazz at Lincoln Center Orchestra with 30 National Theatre Live: The Kitchen \ Wynton Marsalis 23 i Hagen Quartet November Apollo's Fire with Philippe Jaroussky, March countertenor Chicago Symphony Orchestra with 4 Audra McDonald Pinchas Zukerman, violin 5 Diego El Cigala 10 Max Raabe & Palast Orchester . 9 AnDa Union 15-17 Ex Machina: The Andersen Project 11 A Night in Treme: The Musical Majesty 18 National Theatre Live: The Comedy of Errors of New Orleans 22-25 San Francisco Symphony with 20 Beijing Guitar Duo with Manuel Barrueco Michael Tilson Thomas, conductor: 27 Canadian Brass American Mavericks

\ December April 3-4 ! Handel's Messiah 5 St. Lawrence String Quartet (NEW DATE) 6 i London Philharmonic Orchestra with 11 National Theatre Live: She Stoops to Conquer i Janine Jansen, violin 12 Zakir Hussain and Masters of Percussion 7 i Stile Antico 13 Cheikh L6 14 Charles Lloyd New Quartet 18 Pavel Haas Quartet 19-21 Ballet Preljocaj: Snow White 22 Ford Honors Program: Academy of St. Martin in the Fields with Joshua Bell, violin

j May 11 i Breakin' Curfew Educational and Community Events All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or [email protected]. ^

Please join us in Winter 2012 for our UMS the great British painter Lucian Freud. The film Renegade on Film Series, which connects with the includes interviews with Damien Hirst, Bella Freud, upcoming Renegade performance series focusing" Cerith Wyn Evans, Boy George, and his widow on artistic innovation and experimentation. Nicola Bowery. Charles Atlas will participate in an audience Q&A immediately following the film. UMS Renegade on Film: Absolute Wilson This film is co-presented with the U-M Institute for (2006, Katharina Otto-Bernstein, 105 min.) the Humanities, which hosts Charles Atlas's video Tuesday, January 10, 7:00 pm installation Joints Array in February 2012. U-M Museum of Art Helmut Stern Auditorium, 525 S. State Street UMS Renegade on Film: Helicopter String Quartet Absolute Wilson chronicles the epic life, times, (1995, Frank Scheffer, 81 min.) and creative genius of theater director Robert Wednesday, March 7, 7:00 pm Wilson. More than a biography, the film is an Michigan Theater, 603 E. Liberty Street exhilarating exploration of the transformative Tickets: $10 general admission; $7 students/ power of creativity, and an inspiring tale of a boy seniors/UMS donors, subscribers, and Michigan who grew up as an outsider in the American South Theater members; $5 AAFF members only to become a fearless artist with a profoundly original perspective on the world. The narrative The UMS Renegade on Film series culminates at reveals the deep connections between Wilson's the Michigan Theater in collaboration with the childhood experiences and the haunting beauty Ann Arbor Film Festival (AAFF), which celebrates of his monumental works, which include the its 50th anniversary in March 2012. The curators theatrical sensations Deafman Glance, Einstein on at AAFF chose an amazing documentary that the Beach, and The CIVIL WarS. captures the renegade spirit and provides a fabulous lead-in to the San Francisco Symphony UMS Renegade on Film: American Mavericks concerts. In one of the most The Legend of Leigh Bowery certifiably eccentric musical events of the late 20th Followed by Q&A with Director Charles Atlas century, German composer Karlheinz Stockhausen (2002, Charles Atlas, 60 min.) designed and executed the performance: four Monday, February 13, 7:00 pm string quartet members playing an original piece by U-M Museum of Art Helmut Stern Auditorium, Stockhausen in four separate helicopters, all flying 525 S. State Street simultaneously. The sound was then routed to a central location and mixed; the work premiered, in Renegade filmmaker Charles Atlas (who worked turn, at the 1995 Holland Festival. Frank Scheffer's extensively with the late choreographer Merce film Helicopter String Quartet depicts the behind- Cunningham) introduces his 2002 documentary the-scenes preparations for this event; Scheffer The Legend of Leigh Bowery. Artist/designer/ also conducts and films an extended conversation performer/provocateur Leigh Bowery designed with Stockhausen in which the creator discusses costumes and performed with the enfant terrible the conception and execution of his composition of British dance Michael Clark, designed one-of-a- and then breaks it down analytically. Featuring kind costumes and creations for himself, ran one music by Karlheinz Stockhausen, performed by the of the most outrageous clubs of the 1980s London Arditti String Quartet. club scene (later immortalized in Boy George's Broadway musical Taboo), and was the muse of

visit www.ums.org for more information 0 lln. IIIIIIM.

University Musical Society would like to thank Michigan Critical Care Consultants, Inc. for its support of this afternoon's performance.

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133rd season MMusic of Marsalis:Celebrating Wynton's 50th Birthday Jazz at Lincoln Center Orchestra with Wynton Marsalis Wednesday \ February 22 \ 7:30 pm Hill Auditorium On this new tour and to celebrate Wynton Marsalis' 50th birthday, the Jazz at Lincoln Center Orchestra will showcase a retrospective of Wynton's music written for big band. The JLCO may also perform the unique repertoire for which it is renowned worldwide: modern jazz renditions of traditional favorites, including tunes by Thelonious Monk; classic Blue Note Records selections by Herbie Hancock, Joe Henderson, Jockie McLean, Lee Morgan, and Joe Henderson; and modern compositions and arrangements by jazz contemporaries. "The audience was weak from applauding and shouting and jumping up and down with the joy of the great music it had heard." (El Universal/The Herald)

Media Partners WEMU 89.1 FM, Metro Times, The Michigan Chronicle, Detroit Jewish News, end Ann Arbor's 107one.

urns Call or click for tickets! 734.764.2538 \ www.ums.org" urns presents Canadian Brass

Christopher Coletti, Trumpets Brandon Ridenour, Trumpets Achilles Liarmakopoulos, Trombone Eric Reed, French Horn Chuck Daellenbach, Tuba

Program Sunday Afternoon, November 27, 2011 at 4:00 Hill Auditorium » Ann Arbor

Samuel Scheldt Galliard Battaglia

Giovanni Gabriel! Canzona Prima a 5

Johann Sebastian Bach, Fugue in g minor, BWV 578, "Little" Arr. Ronald Romm

Johannes Brahms, Choral Prelude, No. 10, Op. 122 (posth.) Arr. Ralph Sauer

Luther Henderson Christmas Tribute

Henderson Ding Dong Merrily on High

Henderson A Christmas Song

Henderson Go Tell it on the Mountain

Del Staigers, Carnival of Venice Arr. Arthur Frackenpohl

INTERMISSIO UMS 11/12 Canadian Brass

Bach, Arr. Henderson Dixie Bach

Bach, Arr. Frackenpohl Air on the G String, BWV 1068 (ii)

Brahms, Hungarian Dance No. 7 Arr. Brandon Ridenour

Vince Guaraldi, Christmas Time is Here Arr. Ridenour

Traditional, Arr. Romm Dreydel Variations

Sonny Kompanek Tribute to the Ballet

24th Performance of the This afternoon's performance is supported by Michigan Critical Care Consultants, Inc. 133rd Annual Season Media partnership is provided by WRCJ 90.9 FM.

The photographing Canadian Brass appears by arrangement with The Agency Group. 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 11/12 Canadian Brass

ive tremendous brass musicians each a Frequent guests of many major symphony or­ virtuoso in his own right form the legend­ chestras, they are on the cutting edge of technol­ F ary Canadian Brass. Friends Chuck Dael- ogy offering their fans multimedia opportunities lenbach and Gene Watts first came together in including an iPhone app. Education plays a key 1970 to form a brass quintet a chamber music role in the story of the Canadian Brass; a vital setting not entirely new, but never before having part of their outreach is their role as clinicians for garnered the success and storied career Canadi­ Conn-Selmer, as well as their support and interac­ an Brass would achieve over the next 40 years. tion with El Sistema, the acclaimed global music With a vast repertoire from Baroque masters to education program. Since 1998, Canadian Brass marches, holiday favorites to Dixieland, and jazz has been an exclusive artist at Opening Day Enter­ to Broadway, Canadian Brass has created their tainment Group. own musical world by transcribing, arranging, and commissioning more than 200 works. With a discography of over 90 albums and an UMS Archives schedule, Canadian extensive world-wide touring his afternoon's concert marks the in bringing brass Brass is an important pioneer Canadian Brass's 13th appearance everywhere. They have music to mass audiences under UMS auspices. The ensemble sold over one million albums worldwide and con­ T made its UMS debut in March 1984 at Hill to score Billboard chart positions while play­ tinue Auditorium. In May 1999, UMS honored the throughout the US, Canada, ing to packed houses Canadian Brass with the UMS Distinguished and Europe. They were the first brass en­ Japan, Artist Award as part of the 1999 Ford Honors from the West to perform in the People's semble Program. The ensemble most recently they returned for a five- Republic of China (where appeared in March 2007 at Hill Auditorium. in the spring of 2010) as city tour to great acclaim As an original member of the Canadian group to take the stage at well as the first brass Brass, Chuck Daellenbach makes his venerable Carnegie Hall. They have also per­ the 13th UMS appearance this afternoon. the Middle East, the Soviet formed in Australia, Brandon Ridenour makes his second UMS Millions of television Union, and South America. appearance today, following his UMS debut Brass come into their viewers have had Canadian with the ensemble in March 2007. UMS on The Tonight Show, homes with appearances welcomes Christopher Coletti, Achilles Tonight, as well as nu­ Today, and Entertainment Liarmakopoulos, and Eric Reed, who make merous PBS specials. their UMS debuts this afternoon. III" 1 ' Illinium!!'"- I I I I LLLLiiMlllill - HI mi-

UMS is grateful to the Carl and Isabella Brauer Fund for generously sponsoring this weekend's performances of Handel's Messiah.

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Messiaen's From the Canyons to the Stars Hamburg Symphony Orchestra I Jeffrey Tate conductor Francesco Tristano piano Daniel Landau filmmaker Sunday \ January 29 \ 4 pm Hill Auditorium Conductor Jeffrey Tate and the Hamburg Symphony, in collaboration with Israeli filmmaker Daniel Landau, bring French composer Olivier Messiaen's Des canyons aux etoiles (From the Canyons to the Stars) alive in a new cinematic installation, where images of man's impact on the environment create a counterpoint to sounds of untouched nature. Through film images projected on multiple screens, Hill Auditorium will be turned into a multi-sensory experience celebrating the beauty of the earth and our unaltered landscapes. Funded in part by an award from the National Endowment for the Arts. Art Works. | dia Partners WGTE 91.3 FM and WDET 101.9 FM.

urns Call or click for tickets! 734.764.2538 \ www.ums.org urns presents Messiah

Composed by George Frideric Handel

UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, Conductor

Mary Wilson, Soprano Meg Bragle, Mezzo-Soprano --.-. Colin Balzer, Tenor Joshua Hopkins, Baritone

Edward Parmentier, Harps/chord Scott VanOrnum, Organ

Program Saturday Evening, Decembers, 2011 at 3:00 Sunday Afternoon, December 4, 2011 at 2:00 Hill Auditorium Ann Arbor

25th and 26th This weekend's performances are sponsored by the Carl and Isabelle Brauer Fund. Performances of the Media partnership is provided by Michigan Radio 91.7 FM and Ann Arbor's 133rd Annual Season 107one. Ms. Wilson appears by arrangement with Mirshak Artists Management. The photographing or sound and video Mr. Balzer appears by arrangement with Matthew Sprizzo Artists. recording of this concert Mr. Hopkins appears by arrangement with IMG Artists. or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS 11/12 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:

4 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. Hopkins 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 Mr. Hopkins 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. Bragle Isaiah 7: H Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."

9 Air and Chorus Ms. Bragle 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 11/12 Messiah

10 Arioso Mr. Hopkins 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. Hopkins 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. Wilson Luke 2: 8 . . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.

15 Arioso Ms. Wilson 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. Wilson 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. Wilson 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. Wilson 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 11/12 Messiah '.

20 Recitative Ms. Bragle '•:.'• 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. Bragle and Ms. Wilson Isaiah 40: 11 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.

NTERMISSION

Part II

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

24 Air Ms. Bragle 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 11/12 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 53: 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 Ms. Bragle 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. Wilson Isaiah 52: 7 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . . UMS 11/12 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. Hopkins 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 shall break them with a rod of iron; thou shall dash them in pieces like a polter's vessel.

44 Chorus Revelation 19: 6 Hallelujah: for the Lord God omnipotent reigneth. Revelation 11: 15 . . . The kingdom of Ihis world is become Ihe kingdom of our Lord, and of his Chrisl; 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. Wilson Job 19: 25 I know lhal my redeemer livelh, and lhal he shall stand at Ihe latter day upon the earth. Job 19: 26 And though . . . worms destroy Ihis body, yel in my flesh shall I see God. I Cor. 15: 20 For now is Chrisl risen from Ihe dead, ... Ihe first fruils of Ihem thai sleep. U MS 11/12 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. Hopkins / Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, / Cor. 75: 52 . In a moment, in the twinkling of an eye at the last trumpet:

48 Air Mr. Hopkins I 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. Bragle / Cor. 15: 54 . . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.

50 Duet Ms. Bragle 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. Wilson 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 11/12 Messiah

Messiah (1741) the new material Handel masterfully worked into George Frideric Handel . each chorus. Born February 23, 1685 in Halle, Germany Over-enthusiastic "Handelists" in the 19th Died April 14, 1759 in London century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated eorge Frideric Handel's sacred oratorio story relates how Handel's servant found him Messiah is without question one of sobbing with emotion while writing the famous G the most popular works in the choral/ "Hallelujah Chorus," and the composer claiming, orchestral repertoire today. In what has become "I did think I did see all Heaven before me and the an indispensable Christmas tradition, amateur and great God Himself." Supposedly Handel often left professional musicians in almost every city and his meals untouched during this compositional town throughout the country perform this work as period, in an apparent display of devotional fasting a seasonal entertainment, and are rewarded with and monastic self-denial. Present-day historians the satisfaction of taking part in one of the great more familiar with Handel's life and religious views communal musical events. tend to downplay these stories. It's been suggested The text for Messiah was selected and compiled that if Handel did indeed have visions of Heaven from the Authorized (King James) Version of while he composed Messiah, then it was only in the Bible by Charles Jennens, an aristocrat and the same manner in which he visualized the Roman musician/poet of modest talent and exceptional pantheon of gods while he composed his opera ego. With Messiah, Jennens seems to have outdone Semele. Handel's religious faith was sincere, but himself in compiling a libretto with profound tended to be practical rather than mystical. thematic coherence and an acute sensitivity to The tradition of performing Messiah at the inherent musical structure. With the finished Christmas began later in the 18th century. libretto in his possession, Handel began setting it Although the work was occasionally performed to music on August 22, 1741, and completed it 24 during Advent in Dublin, the oratorio was usually days later. He was certainly working at white-hot regarded in England as an entertainment for the speed, but this didn't necessarily indicate he was in penitential season of Lent, when performances the throes of devotional fervor, as legend has often of opera were banned. Messiah's extended stated. Handel composed many of his works in musical focus on Christ's redeeming sacrifice also haste, and immediately after completing Messiah makes it particularly suitable for Passion Week he wrote his next oratorio, Samson, in a similarly and Holy Week, the periods when it was usually brief time-span. performed during Handel's lifetime. But in 1791, The swiftness with which Handel composed the Csecilian Society of London began its annual Messiah can be partially explained by the musical Christmas performances, and in 1818 the Handel borrowings from his own earlier compositions. For and Haydn Society of Boston gave the work's first example, the melodies used in the two choruses complete performance in the US on Christmas "And He shall purify" and "His yoke is easy" were Day—establishing a tradition that continues to the taken from an Italian chamber duet Handel had present. The University Musical Society is a direct written earlier in 1741, "Quel fior che all' alba result of this tradition. In 1879, a group of local ride." Another secular duet, "No, di voi non vo' university and townspeople gathered together fidarmi," provided material for the famous chorus to study Handel's Messiah; this group assumed "For unto us a Child is born," and the delightful the name "The Choral Union" and, in 1880, the "All we like sheep" borrows its wandering members of the Choral Union established the melismas from the same duet. A madrigal from University Musical Society. 1712, "Se tu non lasci amore," was transformed Following the pattern of Italian baroque opera, into a duet-chorus pair for the end of the oratorio, Messiah is divided into three parts. The first is "0 Death, where is thy sting," and "But thanks concerned with prophecies of the Messiah's be to God." In each instance, however, Handel coming, drawing heavily from messianic texts in does more than simply provide new words to old the Book of Isaiah, and concludes with an account tunes. There is considerable re-composition, and of the Christmas story that mixes both Old and any frivolity that remains from the light-hearted New Testament sources. The second part deals secular models is more than compensated for by with Christ's mission and sacrifice, culminating in UMS Messiah Celebrating 75 Years of The Charles Baird Carillon n December 4, 1936, 75 years ago, clock, plus funds raised by UMS from hundreds of the Charles Baird Carillon in Burton community individuals whose names are etched in O Memorial Tower was dedicated and plaques in the tower lobby, enabled the 10-story heard for the first time. It has become one of the tower to be completed in 1936. Except for the most, if not the most poignant visual symbol of the clock chime, there is no automation of any kind— University of Michigan, both visually and aurally. any music you hear is an actual performance by Cast in 1936 for the magnificent structure a live carillonneur playing an instrument whose of Albert Kahn which soars 212 feet above the technological origins can be traced directly to campus, the Charles Baird Carillon is the primary 16th century Europe. The bells are played from teaching and concert instrument of what is a mechanical action keyboard in a room located the oldest school for the study of carillon and in the center of the bell chamber. The keyboard campanology (the science of bells and bell ringing) resembles a piano keyboard in that in that it has in North. America. It is the heaviest instrument sharps and flats, but also has a pedal keyboard for ever constructed by the John Taylor Bellfoundry of the feet. The keys, thin wooden handles played by Loughborough, England containing 53 bells, the loosely closed fists, are levers which are connected largest weighing over 24,000 pounds, the smallest by wires directly to the bell clappers. The about 15 pounds. instrument is strictly mechanical with no electricity In 1929 the UMS Board of Directors authorized involved and is, as a result, highly touch sensitive; the construction of the Marion LeRoy Burton the harder one depresses a key, the louder the bell Memorial Tower. Several large gifts from alumni, sounds. including a gift from Charles Baird (U-M class of The carillon and observation deck are open to 1895) designated for the purchase of a carillon and the public Monday through Friday from 12:00-1:00 pm every day that classes are in session. It will be open to the public after Sunday afternoon's Messiah performance to recreate the first public performance on the instrument 75 years ago by our first University Carillonneur, Wilmot Pratt. It is presented today by our current and seventh University Carillonneur, Steven Ball.

Left: The Marion Leroy Burton Memorial Tower, under construction in 1936.

Below: The raising of the bourdon (the Carillon's heaviest bell) to the top of the Marion Leroy Burton Memorial Tower in October 1936. UMS 11/12 Messiah

the grand "Hallelujah Chorus." The final, shortest Association (AC DA). section is an extended hymn of thanksgiving, an In addition to Dr. expression of faith beginning with Job's statement Blackstone's choral "I know that my Redeemer liveth" and closing with conducting work at the majestic chorus "Worthy is the Lamb" and a the University, he has fugal "Amen." In its focus on Christ's sacrifice led operatic pro­ Messiah resembles the great Lutheran Passions ductions with the U-M of Schutz and Bach, but with much less direct Opera Theatre, including narrative and more meditative commentary on the productions of Janacek's redemptive nature of the Messiah's earthly mission. The Cunning Little Vixen Handel scholar Robert Myers suggested that and Strauss's Die Fleder- "logically Handel's masterpiece should be called Jerry Blackstone maus por his significant Redemption, for its author celebrates the idea of contributions to choral music in Michigan, he Redemption, rather than the personality of Christ." received the 2006 Maynard Klein Lifetime For the believer and non-believer alike, Handel's Achievement Award from the ACDA-Michigan Messiah is undoubtedly a majestic musical chapter. edifice. But while a truly popular favorite around Dr. Blackstone is considered one of the country's the world, Messiah aspires to more than just a leading conducting teachers and his students have reputation as an enjoyable musical event. After received first place awards and been finalists in an early performance of the work in London, both the graduate and undergraduate divisions of Lord Kinnoul congratulated Handel on the "noble the American Choral Directors Association biennial entertainment" he had recently brought to the National Choral Conducting Awards competition. city. Handel is said to have replied, "My Lord, I He has appeared as festival guest conductor and should be sorry if I only entertained them; I wished workshop presenter in 30 states as well as New to make them better." Certainly Messiah carries Zealand, Hong Kong, Shanghai, and Australia. an ennobling message to people of all faiths and Guest appearances in the 10/11 concert season credos, proclaiming "peace on earth, and goodwill included festivals and conference presentations towards men"—a message that continues to be across the country and in Shanghai. timely and universal. In 2004, Dr. Blackstone was named conductor and music director of the UMS Choral Union. In Program note by Luke Howard. March 2008, he conducted the UMS Choral Union and the Detroit Symphony Orchestra in a special performance of Bach's St. Matthew Passion. Choirs prepared by Dr. Blackstone have appeared under rammy Award-winning conductor Jerry the batons of Valery Gergiev, Neeme Ja'rvi, Leonard Blackstone is director of choirs and chair Slatkin, John Adams, Helmuth Rilling, James of the conducting department at the U-M G Conlon, Nicholas McGegan, Rafael Fruhbeck de School of Music, Theatre & Dance where he Burgos, Peter Oundjian, and Itzhak Perlman. conducts the Chamber Choir, teaches conducting As conductor of the U-M Men's Glee Club from at the graduate level, and administers a choral 1988-2002, Dr. Blackstone led the ensemble program of 11 choirs. In February 2006, he in performances at ACDA national and division received two Grammy Awards ("Best Choral conventions and on extensive concert tours Performance" and "Best Classical Album") as throughout Australia, Eastern and Central Europe, chorusmaster for the Naxos recording of William Asia, South America, and the US. The U-M Men's Glee Bolcom's Songs of Innocence and of Experience. In Club recording, I have had singing, is a retrospective 2006, the Chamber Choir performed by special of his tenure as conductor of the ensemble. invitation at the inaugural convention of the Prior to coming to U-M in 1988, Dr. Blackstone National Collegiate Choral Organization in San served on the music faculties of Phillips University Antonio, and in 2003, the Chamber Choir in Oklahoma, Westmont College in California, and presented three enthusiastically received Huntington College in Indiana. He holds degrees performances in New York City at the National from the University of Southern California, Indiana Convention of the American Choral Directors University, and Wheaton College. UMS 11/12 Messiah

oprano Mary Wilson is acknowledged as the Goodman Theatre. one of today's most exciting young artists. An accomplished pianist, Ms. Wilson holds S Cultivating a wide-ranging career singing performance degrees from St. Olaf College in chamber music, oratorio, and operatic repertoire, Northfield, Minnesota, and Washington University her "bright soprano seems to know no terrors, in St. Louis, Missouri. She currently resides in wrapping itself seductively around every phrase" Memphis, Tennessee, with her husband and son. (Dallas Morning News). In high demand on the concert stage, she has most recently appeared with the Los Angeles idely praised for her musical intelligence, Philharmonic, Philadelphia Orchestra, Cleveland "memorable, raw-silk voice" (Toronto Orchestra, St. Louis Symphony Orchestra, WStar) and "expressive virtuosity" (San Cincinnati Symphony Orchestra, St. Paul Chamber Francisco Chronicle), American mezzo-soprano Orchestra, Los Angeles Master Chorale, Detroit Meg Bragle is quickly earning an international Symphony, Delaware Symphony Orchestra, San reputation as one of today's most gifted interpreters Antonio Symphony, Jacksonville Symphony, Virginia of early music. Symphony, Buffalo Philharmonic, Jacksonville Recent highlights include a European tour of Symphony, Dayton Philharmonic, VocalEssence, Bach's Mass in b minor with Sir John Eliot Gardiner and at the Hollywood Bowl. She has worked with and the English Baroque Soloists, including conductors including Nicholas McGegan, Bernard performances at the Bachfest Leipzig, the Prague Labadie, Martin Pearlman, Martin Haselbock, Spring Festival, and the Aldeburgh Festival; debuts JoAnn Falletta, Michael Stern, Anton Armstrong, with the Orchestra of the Age of Enlightenment Philip Brunelle, and Leonard Slatkin. An exciting and Tragicomedia; Bach cantatas with the Arion interpreter of Baroque repertoire, especially Ensemble at the Montreal Bach Festival; a recording Handel, she has appeared with Philharmonia of Bach's St. John Pass/on with Les Voix Baroques; Baroque, Musica Angelica, American Bach Soloists, Messiah with the Dunedin Consort in France; and Boston Baroque, Grand Rapids Bach Festival, Bach the premiere performance of a new edition of Society of St. Louis, Baltimore Handel Choir, Florida Salieri's Requiem in Washington DC. Bach Festival, Brooklyn Academy of Music, the Ms. Bragle has also appeared in Europe and Casals Festival, and the Carmel Bach Festival. With North America with Orchestre Revolutionnaire the IRIS Chamber Orchestra, she sang the world et Romantique, Tafelmusik Baroque Orchestra, premiere of the song cycle Songs Old and New Apollo's Fire, Orpheus Chamber Orchestra, and written especially for her by Ned Rorem. She was the Orchestra of St. Luke's, as well as with the named an Emerging Artist by Symphony magazine symphony orchestras of Memphis, San Antonio, in 2004 in the publication's first-ever presentation Charlotte, North Carolina, and Nova Scotia. She of promising classical soloists on the rise. has collaborated with the Mark Morris Dance On the opera stage, she is especially noted Group in music by Franz Schubert, Antonio Vivaldi, for her portrayals of Zerbinetta in Ariadne auf Johannes Brahms, and Stephen Foster. Her opera Naxos, Susannah in Le Nozze di Figaro, and Gilda performances include the roles of Dido and the in Rigoletto. She has created leading roles in Sorceress in Purcell's Dido and Aeneas, Dardano North American and world premiere performances in Handel's Amadigi, Amastre in Handel's Serse, of Dove's Flight, Glass's Galileo Galilei, and Mitrena in Vivaldi's Motezuma, Speranza in Petitgirard's Joseph Monteverdi's L'Orfeo, Merrick dit L'Elephant Ippolita in Cavalli's Man. She has appeared Elena, and Elpina in most recently with Vivaldi's La Fida Ninfa. Opera Theatre of St. Ms. Bragle has record­ Louis, Minnesota Opera, ed Mozart's Requiem Boston Lyric Opera, with Apollo's Fire (Koch), Dayton Opera, Arizona Opera, Tulsa Opera, Cozzolani's Vespro delta Mississippi Opera, South­ Beata Vergine and Messa west Opera, Brooklyn Paschale with Magnificat Academy of Music, and (Musica Omnia), Monte-

Mary Wilson Meg Bragle UMS 11/12 Messiah

verdi's Vespro delta Beata Vergine (Avie) and L'Orfeo conductors as Leopold (Eclectra) with Apollo's Fire, Music of Medieval Hager, Bernard Labadie, Love with New York's Ensemble for Early Music (Ex Helmuth Rilling, Simone Cathedra Records), Toby Twining's Chrysalid Young, Simon Preston, Requiem (Cantaloupe Music), Anthony Newman's Gabriel Chmura, Christof Requiem (Khaeon World Music), and Copland's In Perick, Mario Venzago, the Beginning with the Men and Boy Choir of St. and Kenneth Mont­ Thomas Fifth Avenue and the Oratorio Singers of gomery. Charlotte on their own labels. Particularly esteemed Ms. Bragle studied both violin and voice at as a recitalist, he has the University of Michigan before earning a been welcomed at BMA in voice performance and English. She also coiin Balzer London's Wigmore completed a Master's degree in choral conducting Hall (accompanied by Graham Johnson), the from Michigan State University. She is the recipient Britten Festival in Aldeburgh, the Vancouver of several awards and recognition from Symphony Chamber Music Festival, the Wratislavia Cantans in magazine, the American Bach Society, the Carmel Poland, and at the Festspielhaus in Baden-Baden. Bach Festival, and the Bethlehem Bach Festival. Recordings to date include Wolf's Italienisches Liederbuch and Eisler and Henze song anthologies. A prizewinner of Holland's 's-Hertogenbosch the ith assured musicality and Competition, the United Kingdom's Wigmore tonal palette of a Heeler specialist, Hall Song Competition, Stuttgart's Hugo Wolf WCanadian lyric tenor Colin Balzer's Competition, and Munich's 55th International current season includes concerts with the ARD Competition, Mr. Balzer also holds the rare Nezet- Rotterdam Philharmonic under Yannick distinction of earning the Gold Medal at the Robert Seguin, RIAS Kammerchor, Museumsorchester Schumann Competition in Zwickau with the Salzburg, Radio Kamer Filharmonie (Amsterdam highest score in 25 years. Born in British Columbia, Concertgebouw), Les Musiciens du Louvre he received his formal musical training at the under Marc Minkowski (Salzburg Music Weeks), University of British Columbia with David Meek Philharmonischer Chor Berlin, Estonian Chamber and with Edith Wiens at the Hochschule fur Musik Choir, and Musik Podium Stuttgart. In North Nurnberg/Augsburg. America he is heard with Bernard Labadie and the Utah Symphony in the Mozart Requiem', the University Musical Society (Handel's Messiah), inner of the 2006 Borletti-Buitoni Toronto's Tafelmusik (Handel's Hercules), and Trust Award and the Verbier Festival Calgary Philharmonic (Bach's St. Matthew WAcademy's 2008 Prix d'Honneur, Passion under Music Director Roberta Minczuk). Joshua Hopkins has been hailed as "...an He sings recitals in Paris and New York (his first outstanding young baritone with a virile, vigorous, Winterreise) and performs in Mozart operas at the yet velvety sound and an immediately evident Bolshoi (Don Giovanni), France's Aix-en-Provence dramatic authority." Mr. Hopkins records in an Festival, and Spain's Castell de Perelada Festival (ia exclusive relationship with ATMA Classique and finta giardiniera). his first recital disc on the label was released in Mr. Balzer has given concerts with the Het 2010 featuring songs of Barber, Bowles, Click, and Brabants Orkest, Scottish Chamber Orchestra, Vaughan Williams. Luxembourg Symphony, Munich Bach Choir, In the 11/12 season, operatic performances Leipzig Baroque Orchestra, Toronto's Tafelmusik, include the roles of Argante in a new Robert and with the Victoria, Ann Arbor, and Oregon Carsen production of Handel's Rinaldo with the symphonies. He sang Wolf's Italienisches touring company of the Glyndebourne Opera Liederbuch at Finland's Savonlinna Festival, Acis in Festival, Junius in Britten's The Rape of Lucretia Handel's Ads and Galatea at Festival Vancouver, with Houston Grand Opera under the baton of and Mattheson's Boris Goudenow and Lully's Rory Macdonald, and Figaro in Rossini's // barbiere Psyche at the Boston Early Music Festival. He di Siviglia both with Vancouver Opera and Lyric frequently collaborates with such distinguished Opera of Kansas City. Concert engagements for UMS 11/12 Messiah

this season include This past June, Mr. Handel's Messiah with Parmentier instructed the University Musical two harpsichord work­ Society and the Mercury shops on the U-M Baroque Orchestra, Bach's campus: the first ex­ Magnificat with the ploring the harpsi­ Orchestra of St. Luke's chord music of Handel, under the baton of and the second ad­ Robert Spano at dressing the funda­ Carnegie Hall, and mentals of harpsichord Nielsen's Symphony No. performance and rep­ Joshua Hopkins 3 as well as Mozart's Edward Parmentier ertoire. Other recent Mass in c minor with the New York Philharmonic performances include a faculty recital with Profes­ under the baton of Alan Gilbert. sor Jeffrey Lyman, U-M Associate Professor of Bas­ Completing his formal training as a member of soon; a dedicatory recital on a new harpsichord at the Houston Grand Opera Studio in the spring of Christ Church Cathedral in Cincinnati; and five dif­ 2005, performances with the company included ferent performances on Ruckers's Mother and the role of The Pilot in The Little Prince and Child Flemish Virginals at the Detroit Institute of Sharpless in Mada'ma Butterfly. Further highlights Arts in connection with their Rembrandt exhibit. have included his Metropolitan Opera debut as Mr. Parmentier has lectured and concertized Ping in Turandot conducted by Andris Nelsons, at both Henderson State University and Ouachita Papageno in Die Zauberflote at Opera Lyra Ottawa Baptist University in Arkadelphia, Arkansas, as well and at the Santa Fe Opera with Lawrence Renes, as at the annual conclave of the Midwest Historical Olivier in Capriccio at Pacific Opera Victoria, Figaro Keyboard Society in Omaha, Nebraska. In addition, in // barbiere di Siviglia at Arizona Opera, and Sid Mr. Parmentier has conducted the Jackson Sym­ in Albert Herring at the Santa Fe Opera under the phony Orchestra in numerous Baroque concerts, baton of Sir Andrew Davis. including J.S. Bach's Brandenburg Concerto No. 5 Profoundly committed to the art of song, Mr. and Concerto for Harpsichord in g minor, in which Hopkins has given solo recitals in New York at he was also a featured soloist. Carnegie Hall with J.J. Penna, under the auspices A strong advocate for education and outreach, of the Vancouver Recital Society with Graham Mr. Parmentier both directed and performed Johnson, and in Toronto, in conjunction with The at the annual Michigan Harpsichord Saturday, Aldeburgh Connection, offering a program entitled an outreach program held at the U-M School of "Schubert's Florilegium" highlighting many Lieder Music, Theatre & Dance for young musicians in about flowers. He is proud to have given the world the Ann Arbor area. He has also had the privilege premiere of Michael Tilson Thomas's Rilke Songs of performing for recovering patients at the at Zankel Hall in New York and to have joined Rehabilitation Center of the Muscular Dystrophy Barbara Bonney for performances of songs by Association in Southfield, Ml. three generations of Mozart (Leopold, Wolfgang Amadeus, and Franz Xaver) under the auspices of the Chamber Music Society of Lincoln Center. He rom its humble beginnings as the local com­ also has collaborated with pianist Richard Goode in munity orchestra 83 years ago, the Ann a program of Haydn part songs. FArbor Symphony Orchestra has become an artistic pillar of southeast Michigan, year after year providing nearly 80,000 Michiganders with dward Parmentier (Harpsichord) is profes­ outstanding concerts on stage, in area classrooms, sor of harpsichord and director of the Early libraries, and senior and day care centers. E Music Ensemble at U-M School of Music, A2SO concerts frequently feature world-class Theatre & Dance. He has both led and directed guest soloists, including, most recently, Anton Nel, doctoral seminars on campus, several small Ba­ Julie Albers, Adam Golka, Orion Weiss, and Ameri­ roque ensembles, and co-directs the Baroque can Idol star David Archuleta. The Symphony is Chamber Orchestra with Professor Aaron Berofsky. most privileged to be part of a community already UMS 11/12 Messiah

enriched with musical talent; local virtuosi such as vio­ including "Best Choral Performance" and "Best linist Yehonatan Berick, cellist Anthony Elliott, pianist Classical Album." The recording was also selected Arthur Greene, vocalists Freda Herseth and Stephen as one of The New York Times "Best Classical West, and many more who regularly join the A2SO. Music CDs of 2004." In 2009, the A2SO released their first CD, fea­ The UMS Choral Union's 11/12 season begins turing the music of contemporary composer Paul with its annual performances of Handel's Messiah Fetler, as part of Naxos' American Classics series. at Hill Auditorium with the Ann Arbor Symphony The CD consists of live performances of Fetler's and at Orchestra Hall with the DSO in December. Violin Concerto No. 2, with concertmaster Aaron The chorus will join forces with the DSO and Berofsky as soloist; Capriccio for orchestra; and Leonard Slatkin in February for performances of Three Poems of Walt Whitman, narrated by Thom­ Brahms's Ein deutsches Requiem and Adams's On as Blaske. AnnArbor.com described the recording the Transmigration of Souls and again in April for as "startlingly wonderful," and praised Fetler's performances of Beethoven's Choral Fantasy and "evocative lyricism in music that is itself protean in Bolcom's Prometheus. . •• . color, style, and mood." Whether on an iPod or the radio, in the concert hall or the classroom, the mission of the A2SO at­ UMS Archives tracts, inspires, and educates the most diverse au­ he UMS Choral Union began dience possible; fosters a growing appreciation for performing on December 16, 1879 excellent music and regional talent; and provides and has presented Handel's Messiah through community in­ T imaginative programming in annual performances ever since. This volvement. Join the A2SO for performances again weekend's performances mark the UMS on January 21 and March 17 at the Michigan The­ Choral Union's418th and 419th appearances ater and back at Hill Auditorium on April 21, 2012. under UMS auspices. Dr. Blackstone makes his 20th and 21st UMS appearances, Union ormed by a group of local university and following his debut leading the Choral at the townspeople who gathered together for in performances of Messiah in 2003 Union the study of Handel's Messiah, the UMS Michigan Theater. The UMS Choral F Dr. Blackstone most recently appeared ; Choral Union has performed with many of the and 201 of world's distinguished orchestras and conductors under UMS auspices in December in its 133-year history. First led by Professor Henry in last season's presentations of Handel's Simmons Frieze and conducted by Professor Calvin Messiah at Hill Auditorium. mark the Cady, the group assumed the name The Choral This weekend's performances Union. Since its first performance of Handel's Ann Arbor Symphony Orchestra's 61st and Messiah in December 1879, the oratorio has been 62nd UMS appearances since their 1974 performed by the UMS Choral Union in Ann Arbor UMS debut. annually. Based in Ann Arbor under the aegis of Harpsichordist Edward Parmentier has UMS, the 175-voice Choral Union is known for performed in the annual UMS presentations its definitive performances of large-scale works of Messiah since 1995; this weekend's for chorus and orchestra. Sixteen years ago, the performances mark his 35th and 36th UMS Choral Union further enriched that tradition appearances under UMS auspices. when it began appearing regularly with the Detroit Soprano soloist Mary Wilson and Symphony Orchestra (DSO). baritone Joshua Hopkins make their third Led by Grammy Award-winning conductor and fourth UMS appearances this weekend, and music director Jerry Blackstone, the UMS following their UMS debuts in the 2008 Choral Union was a participant chorus in a rare presentations of Messiah. Tenor Colin Balzer performance and recording of William Bolcom's also makes his third and fourth appearances Songs of Innocence and of Experience in Hill this weekend, following his UMS debut in Auditorium in April 2004 under the baton of the 2006 presentations of Messiah. Leonard Slatkin. Naxos released a three-disc set of UMS welcomes mezzo-soprano and this recording in October 2004, featuring the UMS U-M alumna Meg Bragle, who makes her Choral Union and U-M School of Music ensembles. UMS debut this weekend. The recording won four Grammy Awards in 2006, UMS 11/12 Messiah

Ann Arbor Symphony Orchestra Arie Lipsky, Music Director and Conductor Mary Steffek Blaske, Executive Director

Violin I Bass Aaron Berofsky, Concertmaster Gregg Emerson Powell* Stephen B. Shipps Concertmaster Chair Erin Zurbuchen Kathryn Votapek, Associate Concertmaster The EZ Chair Yi-Ting kuo, Assistant Concertmaster Robert Rohwer Ruth Merigian and Albert A. Adams Assistant A2SO Emerita Board Chair • '•' • Concertmaster Chair Karen Donato • • . Oboe Sarah and Jack Adelson Violin Chair Timothy Michling* Linda Etter Gilbert Omenn Principal Oboe Chair ...... Linda Etter Violin Chair Gretchen Morse David Ormai • , Priscilla Johnson Violin Chair English Horn Judy Blank : Kristin Reynolds ' • : Tea Prokes Bill and Jan Maxbauer Oboe Chair • '

Violin II Bassoon . • Barbara Sturgis-Everett* Yeh-Chi Wang • ., • ,. The A!SO Principal Second Violin Chair E. Daniel Long Principal Bassoon Chair -. - , : Honoring Anne Gates and Annie Rudisill Stephanie Konchel David Lamse William and Elizabeth Knapp Bassoon Chair Brian K. Etter Memorial Violin Chair Christine Prince Anne Ogren Sharon Meyers-Bourland . .•;••. Contrabassoon Cyril Zilka Tim Abbott Katie Rowan Kim, Darlene and Taylor Eagle Violin Chair Trumpet Amy Cave Katherine Cosgrove* Emily Barkakati David S. Evans III Principal Trumpet Chair Kevin Maloney Viola Kathleen Grimes* ";: Timpani Tim and Leah Adams Principal Viola Chair James Lancioni* Alex Applegate Michael and Remedies Montalbo Young Principal Antione Hackney . -.••..'.-" Timpani Chair Linnea Powell .• Barbara Zmich * = Principal • '

Cello Zac Moore, General Manager '• • Sarah Cleveland* Ben Thauland, Librarian Sundelson Endowed Principal Cello Chair Jonathan Tyman, Operations Manager Alicia Rowe Bill and Hah Weiblen Cello Chair Britton Riley Marijean Quigley-Young Cello Chair Daniel Thomas UMS 11/12 Messiah

UMS Choral Union Jerry Blackstone, Conductor and Musical Director Kathleen Operhall, Chorus Manager Arian Khaefi, Assistant Conductor Nancy K. Paul, Librarian Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus

Soprano Jennifer Stevenson Francesca Minonne Nathan Reiff Kathryn Borden Ellen Storch Stephannie Moore David Schnerer Jamie Bott Sue Ellen Straub Stephanie Normann Ray Shuster Debra Joy Brabenec Virgina A. Thorne- Sile O'Modhrain Carl Smith Ann K. Burke Herrmann Kathleen Operhall Christopher Switzer Anne Busch Barbara Hertz Wallgren Hanna Martha Reincke Patrick Tonks Ann Cain-Nielsen Margie Warrick Sherry Root William Scott Walters Carol Callan Barbara J. Weathers Cindy Shindledecker Saya Callner Mary Wigton* Susan Sinta Bass Susan F. Campbell Beverly N. Slater Sam Baetzel Young Cho Alto Hanna Song Joseph Baldwin Cheryl D. Clarkson Paula Allison-England Katherine Spindler William Boggs# Elizabeth Crabtree Olga Astapova Gayle Beck Stevens Paul Bowling Marie Ankenbruck Davis Carol Barnhart Ruth A. Theobald John Dryden Carrie Deierlein Dody Blackstone Carrie Throm Charlie Dwyer Chelsea DiMaria Margy Boshoven Lauren Tian Don Faber Kristina Eden Anne Casper Alice E. Tremont Kenneth A. Freeman Emilia Fracz Carole DeHart Barbara Trevethan Christopher Friese Jennifer Freese Valerie Delekta Cheryl Utiger Mark Goodhart Keiko Goto . - Elise Demitrack Crystal VanKooten Philip J. Gorman Karen T. Isble Melissa Doyle Alice VanWambeke Chris Hampson AnneJaskot Marilyn Finkbeiner Rachelle Barcus Warren James Head Emily Jennings Katherine Fisher Iris Wei Anthony DoHoon Kim Kyoung Kim Grace K. Gheen Mary Beth Westin Zachery Kirkland Alana Kirby Heidi Goodhart Sandra K. Wiley Edward Maki-Schramm Kay Leopold Siri Gottlieb Susan Wortman William Malone Patricia Lindemann Johanna Grum ; • Allison Anastasio Zeglis Joseph D. McCadden Loretta Lovalvo Anna Gustitus James B. McCarthy Katherine Lu Kat Hagedorn Tenor Gerald Miller Natalie Lueth Linda Hagopian Michael Ansara Brandon Pemberton Sara McMullen-Laird Sook Man Gary Banks Michael Peterson Carole McNamara Nancy Heaton ' Reed Blaylock Victor Pinedo Toni Marie Micik # Jane Hecker •. ' Alex Bryan Michael Pratt Erica Nelson Julie Anne Heikel George Case James Rhodenhiser Ann Ophoff Lisa Hills Fr. Timothy J. Dombrowski Michael Schachter Ann Orwin Carol Kraemer Hohnke Steven Fudge* Bradley Schick Nancy K. Paul Laura Holladay Randy Gilchrist William Shell Ann Payne Stacey Hoopes Roy Glover Peter Shirts Sara J. Peth Sue Johnson - . - • • Arthur Gulick Donald Sizemore* Margaret Dearden Josephine Kasa-Vubu Marius P. Jooste Jeff Spindler Petersen Katherine Klykylo Ezra Keshet Robert Stevenson Julie Pierce Jessica Lehr Arian Khaefi Terril 0. Tompkins Camille Porter Jean Leverich Jonathan King Thomas L. Trevethan Katharine Roller Cynthia Lunan Bob Klaffke John Van Bolt Allie Schachter Karla K. Manson # Gregory Kocsan Alexander Von Erin L. Scheffler-Franklin Linda Selig Marshall Andrew S. Kohler Hagen-Jamar Mary A. Schieve Beth McNally Mark A. Krempski # Paul Venema JoyC. Schultz Marilyn Meeker* Lionel Levine Amy Smith Nicole Michelotti Richard Marsh * Section Leader Elizabeth Starr Carol Milstein Nicholas Mischel # Section Coach urns presents London Philharmonic Orchestra

Vladimir Jurowski, Principal Conductor Janine Jansen, Violin

Program Tuesday Evening, December 6, 2011 at 7:30 Hill Auditorium • Ann Arbor

Matthias Pintscher towards Osiris (Study for Orchestra)

Wolfgang Amadeus Mozart Violin Concerto No. 5 in A Major, K. 219 Allegro aperto Adagio Rondeau: Tempo di menuetto , ,. . Ms. Jansen

INTERMISSION

Pyotr llyich Tchaikovsky Manfred Symphony in b minor. Op. 58 Lento lugubre Vivace con spirito Pastorale: Andante con moto Allegro con fuoco

27th Performance of the Media partnership is provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit 133rd Annual Season Jewish News.

Special thanks to Timothy Walker, Chief Executive and Artistic Director of the 133rd Annual London Philharmonic Orchestra, for speaking at this evening's Prelude Dinner. Choral Union Series The Steinway piano used in this evening's performance is made possible by the William and Mary Palmer Fund and by the Steinway Piano Gallery of Detroit. The photographing or sound and video Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his recording of this concert generous contribution of lobby floral art for this evening's performance. or possession of any The London Philharmonic Orchestra's December 2011 US Tour is generously device for such recording supported by the Dunard Fund. is prohibited. The Orchestra is grateful for the support of the American Friends of the London Philharmonic Orchestra.

The London Philharmonic Orchestra appears by arrangement with Columbia Artists Management, LLC, New York, NY. Janine Jansen's General Management is HarrisonParrott, London, UK. Large print programs are available upon request. UMS 11/12 London Philharmonic Orchestra

Now that you're in your seat...

any people received their first introduction to classical music from a work by Mozart— models of classical poise, harmony, and balance. Others may have been exposed M to Tchaikovsky as children—maybe through Christmastime performances of The Nutcracker—and fell in love with the heart-on-the-sleeve passion and the Romantic intensity of this music. (Later on, maybe they discovered that these two worlds are not mutually exclusive: there is plenty of passion in Mozart and classical balance in Tchaikovsky, and the latter was a great admirer of the former, as the delightful suite Mozartiana attests.) In any case, most of us enjoy being reunited with our all-time favorites, and even discovering, or rediscovering, such a rarely-heard masterpiece as the Manfred Symphony. It is important to remain open to new music by composers living and working in our own time, and Matthias Pintscher is certainly one of the most prominent composers of the generation born in the 1970s. His new work helps us hear the older compositions with new ears, realizing that they, too, were radically modern in their own time.

towards Osiris (Study for Orchestra) in-progress for the Ensemble Intercontemporain (2005) in Paris, the Cleveland Orchestra, and the Boston Matthias Pintscher Symphony Orchestra. Born January 29, 7977 in Marl, North Rhine- Pintscher's towards Osiris was composed in Westphalia, Germany 2005. It was one of four short orchestral works commissioned by the Berlin Philharmonic Orchestra Snapshot of History... as "asteroids" to partner Hoist's suite The Planets, In 2005: for performances and a live recording in February • George W. Bush begins his second term as 2006 under Sir Simon Rattle. (The others were President of the United States by Kaija Saariaho, Mark-Anthony Turnage, and Atomic Energy Agency and its • The International Brett Dean.) The specific reference in the title is director Mohamed ElBaradei jointly receive the presumably to the main-belt asteroid 1923 Osiris. Nobel Peace Prize an art-work by • John Adams's opera Doctor Atomic premieres But Pintscher had also encountered in San Francisco Joseph Beuys called Osiris, consisting of pasteboard • A museum dedicated to the work of Paul Klee objects mounted apparently at random on a blank opens in Bern, Switzerland canvas; and he had been led by this to explore the • Cormac McCarthy's novel Wo Country for ancient Egyptian myth of the god Osiris, murdered Old Men is published and dismembered, but lovingly reassembled by his sister and wife Isis. The result was a major orchestral Matthias Pintscher, a native of the German work, also called Osiris, which was first performed province of North Rhine-Westphalia, is one of the by the Chicago Symphony Orchestra and Pierre leading European composers of his generation, Boulez in February 2008. Pintscher describes and also greatly in demand as a conductor. He towards Osiris as "an independent orchestral has held residencies with the Cleveland Orchestra study" for this larger work. and with orchestras, concert halls, and festivals The piece lasts about eight minutes, and is in Europe and Australia; he is now based in scored in meticulous detail for a large orchestra, New York. His most recent major work is a violin including a substantial percussion section. At the concerto, Mar'eh, a joint commission by the start, in a landscape (or spacescape) of slides, trills, Lucerne Festival, the Alte Oper Frankfurt, and and short-lived eruptions from different parts of the the London Philharmonic Orchestra, which was orchestra, a single trumpet emerges as a virtuoso premiered by Julia Fischer with the Orchestra in soloist. When it relinquishes the foreground, Lucerne in September. He currently has works- nothing else takes its place: a texture of drifting UMS 11/12 London Philharmonic Orchestra

fragments is punctuated by sharp off-beat attacks. in search of a tune. Note too, how the little up­ A brass crescendo on a single note launches ward sweep which ends the first orchestral section a meteor shower on percussion; woodwinds is taken up for discussion later in the movement. reiterate an insistent signal; the strings coalesce The slow movement is longer than those of the in high, translucent clouds. The brass combine other violin concertos of 1775, but its effortless in another crescendo, more sustained and more beauty never wavers. There is little dialogue here, menacing—perhaps a distant echo of The Planets! just a serenely drawn and effortlessly touching A passage of furious orchestral activity is finally melody for the solo violin, with the orchestra sup­ dispersed when the violins join forces in a melody plying the most loving of accompaniments. The that arches upwards, to disappear in the ether. concerto finishes with a "Rondeau" in which re­ turns of the opening theme are interspersed with Program note by Anthony Burton, ©2011. contrasting episodes. As he had done in the finales of his previous two concertos, Mozart takes the opportunity to introduce an element of humor­ Violin Concerto No. 5 in A Major, K. 219 ous impersonation. In his earlier works, this had (1775) taken the form of bagpipe-and-drone effects, but Wolfgang Amadeus Mozart here it is an exhilarating excursion into what is Born January 27, 1756 in Salzburg, Austria usually called "Turkish" music. In fact, this style— Died December 5, <7797 in Vienna evoked with exaggerated melodic leaps, pounding rhythms, and col legno effects (hitting the strings Snapshot of History... with the wood of In 1775: the bow) in the cellos and bass­ • Patrick Henry delivers his "Give me liberty or es—owes more to Hungarian gypsy music than to give me death" speech in Richmond, Virginia the Ottomans, but for most Europeans of Mozart's • Pierre Beaumarchais writes his play The Barber time, its exotic sounds would have seemed east­ of Seville ern enough. Mozart himself borrowed some of • Joseph Priestley discovers oxygen this section from music he had written for a bal­ • Erection of the Gloriette (garden building) of let entitled La gelosie del Seraglio (The Jealousy of the Palace of Schonbrunn outside Vienna the Harem), but the reasons behind this particular • Johann Wolfgang Goethe moves to Weimar, the musical joke must remain a mystery. city where he will reside for the rest of his life Program note by Lindsay Kemp, Mozart's Violin Concerto No. 5 was completed ©2011. only two months after the fourth concerto on De­ cember 20, 1775, and is a work which combines radiant warmth with sprightly humor, and violinis- Manfred Symphony in b minor. Op. 58 tic athleticism with sublime poetry (while perhaps (1885) being the most technically demanding of the violin Pyotr llyich Tchaikovsky concertos). Conceived on a notably larger scale, it Born May 7, 1840 in Kamsko-Votkinsk, Russia has the look of a new stage of development. How Died November 6, 1893 in St. Petersburg strange it is that, at the age of 19, Mozart was writing his last concerto for violin. How one could Snapshot of History... wish for just a few more! In 1885: It is soon established that this is a concerto that • Vincent van Gogh paints his first major work, should not be hurried. Thematically speaking, the The Potato Eaters opening is surprisingly unassertive, with the or­ • Johannes Brahms composes his Fourth Symphony chestral violins striding out lightly over a quivering • Louis Pasteur develops his vaccine for rabies • The Statue of Liberty arrives in New York Harbor accompaniment, but without anything that strikes • Mark Twain publishes Adventures of the listener as a theme. Even more unexpected Huckleberry Finn is the way in which the soloist emerges: six bars of pensively soaring adagio over a murmuring Tchaikovsky composed his Manfred Symphony in accompaniment eventually burst out into a new just over four months in the spring and summer theme full of swaggering self-confidence, reveal­ of 1885, three years before Symphony No. 5; ing the opening to have been an accompaniment UMS 11/12 London Philharmonic Orchestra

the first performance took place in Moscow in interlude of solemn chords leading to Manfred's March 1886. The Symphony is unnumbered— dragging second theme before the dance is and perhaps on that account unduly neglected— resumed in fugal texture. Manfred's first theme because it is overtly a programmatic symphony, alternates with fragments of the dance; after a based on a pre-existing narrative, in the tradition pause, Astarte's music from the first movement of Berlioz's influential Symphonie fantastique and returns, even more radiant than before. There Harold in Italy. The program was drawn up by the is a reprise of the impassioned "Andante con Russian critic Vladimir Stasov for the composer duolo" statement of Manfred's first theme from Mily Balakirev, and later passed on by Balakirev to the first movement, followed by an episode of Tchaikovsky with numerous musical suggestions, gathering speed and excitement, and a solemn many of which he ignored. It is based loosely on conclusion colored by the sound of the organ and Byron's poetic drama Manfred, completed and by repetitions in the bass of the first phrase of the published in 1817. plainchant Dies irae. The first movement of the Symphony introduces by Anthony Burton, ©2011. the central figure of the poem, Manfred, who lives Program note in an alpine castle and recklessly roams the peaks, shunning the company of men and communing (LPO) with the spirit world, in an attempt to expiate his he London Philharmonic Orchestra orches­ guilt over his illicit love for his sister Astarte. Two is one of the world's best-known themes at the very outset suggest his state of mind, Ttras, balancing a long and distinguished UK's most the first dark and despondent and dominated by history with a reputation as one of the a falling phrase, the second suggesting the weight forward-looking orchestras. As well as performing film of his guilt in its repeated downward plunges classical concerts, the Orchestra also records has its own re­ and painful ascents: these form the basis of an and computer game soundtracks, Londoners extended slow section, which culminates in a cord label, and reaches thousands of and local blazing climax. A more lyrical group of themes in every year through activities for schools triple time represents his memories of Astarte; and communities. in the final section, marked "Andante con duolo" The Orchestra was founded by Sir Thomas Bee- headed by (grief-stricken), Manfred's first theme returns, also cham in 1932, and since then has been Boult, in triple time, at a peak of intensity. many great conductors including Sir Adrian The second movement was suggested by an Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, episode in the poem in which "the Alpine Fairy and Kurt Masur. The current Principal Conductor with Yan- appears to Manfred beneath the rainbow of is Vladimir Jurowski, appointed in 2007, the waterfall." It is a balletic scherzo of dazzling nick Nezet-Seguin as Principal Guest Conductor. brilliance, with a more melodic trio presumably The LPO has been performing at Southbank in representing the Fairy's own song. Manfred's first Centre's Royal Festival Hall since it opened 1992. It theme reappears in the course of this trio, and also 1951, becoming Resident Orchestra in towards the end of the reprise of the scherzo. also has flourishing residencies in Brighton and The third movement is a "Pastorale," subtitled Eastbourne, and in summer it plays for Glynde- "the simple, free, and peaceful life of the mountain bourne Festival Opera where it has been the folk." It presents a whole sequence of picturesque Resident Symphony Orchestra since 1964. The ideas, with the falling phrase from Manfred's first LPO tours internationally and in the 11/12 season theme and a tolling bell casting only a momentary will visit Belgium, Switzerland, Germany, the US, shadow over the sunlit landscape. Spain, China, Russia, Oman, Brazil, and France. The finale, which departs substantially Having long been embraced by the record­ from Byron's narrative, depicts a subterranean ing, broadcasting, and film industries, the LPO bacchanal; the spirit of Astarte appears, and broadcasts regularly on television and radio. It also pardons Manfred for his earthly sins before he works with the Hollywood and UK film industries, dies. The movement begins with a resolute march, recording soundtracks for blockbuster motion pic­ which is then swept up into a wild- dance—in tures including the Oscar-winning score for The the course of which fragments of Manfred's Lord of the Rings trilogy. In 2005 it established its first theme reappear once more. There is a slow own record label. UMS 11/12 London Philharmonic Orchestra

The London Philharmonic Orchestra main­ Maestro Jurowski is a tains an energetic program of activities for young regular guest with many people and local communities including concerts of the world's leading for families and schools. Over the last few years, orchestras including the developments in technology and social networks Berlin Philharmonic, Oslo have enabled the Orchestra to reach even more Philharmonic, Royal Con- people worldwide: all of its recordings are avail­ certgebouw, Bavarian able to download from iTunes, and in addition to Radio Symphony, Los a YouTube channel, news blog, iPhone app, and Angeles Philharmonic, regular podcasts, the Orchestra has a thriving pres­ and Philadelphia orches­ ence on Facebook and Twitter. For more informa­ tras, as well as the Staats- tion, please visit www.lpo.org.uk. ;-. • . Vladimir Jurowski kapelle Dresden and the Gewandhausorchester Leipzig. Highlights of the 11/12 season and beyond include his debuts with orn in Moscow, the son of conductor the Vienna Philharmonic, Boston Symphony Mikhail Jurowski, Vladimir Jurowski com­ Orchestra, NHK Symphony Orchestra Tokyo, and pleted his initial musical studies at the Mu­ B San Francisco Symphony, and return visits to the sic College of the Moscow Conservatory. In 1990 Chamber Orchestra of Europe, Staatskapelle he relocated with his family to Germany where Dresden, Tonhalle Orchester Zurich, Accademia he continued his studies in Dresden and Berlin, Nazionale di Santa Cecilia, and the Chicago studying conducting with Rolf Reuter and vocal Symphony, St. Petersburg Philharmonic, Royal coaching with Semion Skigin. In 1995 he made his Concertgebouw, and Philadelphia orchestras. international debut at the Wexford Festival, where Maestro Jurowski's operatic engagements have he conducted Rimsky-Korsakov's May Night. The included Jenufa, The Queen of Spades, and Hansel same year saw his brilliant debut at the Royal und Gretel at the Metropolitan Opera; Parsifal and Opera House Covent Garden in Nabucco, and in Wozzeck at Welsh National Opera; War and Peace 1996 he joined the ensemble of Komische Oper at the Opera National de Paris; Eugene Onegin at Berlin, becoming First Kapellmeister in 1997 and La Scala Milan and lolanta at the Dresden Sem- continuing to work at the Komische Oper on a peroper; as well as The Magic Flute, La Ceneren- permanent basis until 2001. tola, Otello, Macbeth, Falstaff, Tristan und Isolde, Since 1997 Maestro Jurowski has been a guest Die Meistersinger von Nurnberg, Don Giovanni, at some of the world's leading musical institutions The Rake's Progress, and Peter Eotvos's Love and including the Royal Opera House Covent Garden, Other Demons at Glyndebourne Festival Opera. Teatro La Fenice di Venezia, Opera Bastille de Paris, Future engagements include new productions of Theatre de la Monnaie Bruxelles, Maggio Musicale Ariadne auf Naxos and The Cunning Little Vixen Festival Florence, Rossini Opera Festival Pesaro, Ed­ at Glyndebourne, Die Frau ohne Schatten at the inburgh International Festival, Dresden Semperop- Metropolitan Opera, Moses und Aron at the Ko­ er, and the Teatro Comunale di Bologna (where mische Oper Berlin, and Ruslan and Ludmila at the he served as Principal Guest Conductor between Bolshoi Theatre. 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera in New York with Rigoletto. In January 2001 Maestro Jurowski took up the truly exciting and versatile artist, Janine position of Music Director of Glyndebourne Fes­ Jansen's performances have left audiences tival Opera and in 2003 was appointed Principal A spellbound and critics searching for Guest Conductor of the London Philharmonic Or­ superlatives. Ms. Jansen works regularly with the chestra, becoming the Orchestra's Principal Con­ Royal Concertgebouw, Chicago Symphony, ductor in September 2007. He also holds the title Philadelphia, Cleveland, London Symphony, Mahler of Principal Artist with the Orchestra of the Age of Chamber, NHK Symphony, Berlin Philharmonic, and Enlightenment, and from 2005-2009, he served New York Philharmonic orchestras. Conductor as Principal Guest Conductor of the Russian Na­ collaborations include such eminent names as tional Orchestra, with whom he will continue to Mariss Jansons, Lorin Maazel, Valery Gergiev, work in the years ahead. Riccardo Chailly, Neeme and Paavo Ja'rvi, Esa-Pekka UMS 11/12 London Philharmonic Orchestra

Salonen, Daniel Harding, she will perform a chamber project including Edo de Waart, Gustavo Schubert's String Quintet and Schoenberg's Dudamel, and Yannick Verklarte Nacht in addition to duo recitals in Nezet-Seguin. London, Berlin, Amsterdam, Hamburg, Dortmund, The 11/12 season Lyon, and Eindhoven. She established and curates sees her undertake the annual International Chamber Music Festival in residencies at the Utrecht, and since 1998 has performed each season Wigmore Hall and with at the Berlin Philharmonie's Spectrum Concerts the London Philhar- series. Her chamber partners include Jean-Yves Julian Rachlin, Itamar k i §E 7W rnonic Orchestra (which Thibaudet, Mischa Maisky, Leif Ove 1%., TK. /m\ includes a US tour). Golan, Martin Frost, Khatia Buniatishvili, JanineJansen She will tour Asia with Andsnes, and Torleif Thedeen. recording contract the Royal Concertgebouw Orchestra and Myung- Ms. Jansen has an exclusive Music). Her most recent Whun Chung, and Europe with the Accademia with Decca (Universal disc entitled Beau Soir with Nazionale di Santa Cecilia and Antonio Pappano. release is a French recital one of her previous five She will also return to the Dresden Staatskapelle, pianist Itamar Golan. Each disc for sales Los Angeles Philharmonic, Finnish Radio Symphony, albums has been awarded a platinum for her success on and Bavarian Radio Symphony orchestras. in The Netherlands. Renowned reached number one on In addition to her concerto performances, Ms. iTunes, her recordings have of occasions. Jansen is a devoted chamber musician. This season the digital charts on a number

London Philharmonic Orchestra Vladimir Jurowski, Principal Conductor, Supported by the Tsukanov Family Yannick Nezet-Seguin, Principal Guest Conductor

Violin I Fiona Higham Jonathan Ayling by Caroline, Jamie Pieter Schoeman*, Leader Ashley Stevens Chair supported Vesselin Gellev, Sub-Leader Marie-Anne Mairesse and Zander Sharp Chair supported by John Dean Williamson Gregory Walmsley t and Angela Kessler Sioni Williams Santiago Carvalho Radu Bitica : Heather Badke Susanna Riddell Helena Smart Peter Graham Tom Roff Katalin Varnagy Stephen Stewart Helen Rathbone Catherine Craig Mila Mustakova Tina Gruenberg Sheila Law Bass Principal Martin Hohmann Kevin Rundell*, Chair supported by Viola Tim Gibbs, Co-Principal Richard Karl Goeltz Tom Dunn, Guest Principal Laurence Lovelle Geoffrey Lynn Robert Duncan George Peniston Robert Pool Gregory Aronovich Richard Lewis - • ' Yang Zhang Katharine Leek Tom Walley Rebecca Shorrock Benedetto Pollani Joe Melvin Alain Petitclerc Susanne Martens Helen Rowlands Peter Nail Emmanuella Reiter-Bootiman Galina Tanney Martina Forni Flute Joanne Chen Michelle Bruil Jaime Martin*, Principal Daniel Cornford Susan Thomas Violin II Isabel Pereira Stewart Mcllwham* Clare Duckworth, Principal Alistair Scahill Chair supported by the Sharp Family Piccolo Jeongmin Kirn Cello Stewart Mcllwham*, Principal Joseph Maher Kristina Blaumane, Principal Kate Birchall Susanne Beer, Co-Principal Oboe Chair supported by David & Victoria Francis Bucknall lan Hardwick, Principal Graham Fuller Laura Donoghue Angela Tennick UMS 11/12 London Philharmonic Orchestra

In September 2003, Ms. Jansen received the Dutch Music Prize from the Ministry of Culture— UMS Archives the highest distinction an artist can receive in The Netherlands. She has received numerous other his evening's concert marks the awards including the Edison Klassiek Public Award London Philharmonic Orchestra's third three times (most recently in 2010), three Echo Tappearance under UMS auspices, Klassik awards, the German Record Critics' Award, following its UMS debut in November 1976 as well as the NDR Musikpreis for outstanding under the baton of Maestro Bernard Haitink. artistic achievement in 2007. In 2008 she was The Orchestra most recently appeared in given the VSCD Klassieke Muziekprijs for individual November 2006 with Maestro Alexander achievement and in May 2009 she received the RPS Vedernikov and violin soloist Sarah Chang Instrumentalist Award for performances in the UK. at Hill Auditorium. Ms. Jansen's outstanding instrument is the UMS welcomes Maestro Vladimir Ju- "Barrere" by Antonio Stradivari, on extended loan rowski and Janine Jansen, who make their from the Elise Mathilde Foundation. UMS debuts this evening.

Clarinet Trombone * Holds a professorial appointment Robert Hill*, Principal MarkTempleton*. Principal in London Nicholas Carpenter* David Whitehouse t Chevalier of the Brazilian Order of Rio Branco Bass Clarinet Bass Trombone Paul Richards, Principal Lyndon Meredith, Principal Staff Timothy Walker, Chief Executive and Contrabass Clarinet Tuba Artistic Director Steve Morris Lee Tsarmaklis*, Principal Supported by Macquarie Group Jenny Chadwick, Tours and Bassoon Timpani Engagements Manager Gareth Newman*, Principal Simon Carrington*, Principal Andrew Chenery, Orchestra Simon Estell Personnel Manager Laurence O'Donnell Percussion Sarah Thomas, Librarian Andrew Barclay*, Principal Michael Pattison, Stage Manager Horn Chair supported by Andrew Kenneth Graham, Instrument John Ryan, Principal Davenport Transportation Alec Frank-Gemmill Keith Millar Martin Hobbs Oily Yates Columbia Artists Management LLC: Mark Vines, Co-Principal Ignacio Molins Tour Direction Eddy Hackett Gareth Mollison R. Douglas Sheidon, Senior Vice President Trumpet Harp Rachel Masters*, Principal Paul Beniston*, Principal Karen Kloster, Tour Coordinator Anne McAneney* Helen Sharp Darcie Kozlowski, Managerial Assistant Chair supported by Geoff and Meg Ann Woodruff, Tour Manager Mann Piano/Celeste/Organ Nicholas Belts, Co-Principal Catherine Edwards Joe Sharp MMIIIIII III"" MINIUM

UMS would like to thank Gary Boren for his sponsorship of this evening's performance.

IMIMIIIII III'" I U I I I I I | |

season UmS 11/12

The Tallis Scholars Peter Phillips director Thursday \ February 1 6 \ 7:30 pm St. Francis of Assisi Catholic Church PROGRAM Gesualdo Tenebrae Responses for Holy Saturday Lassus Timor et tremor Gallus Mirabile mysterium de Went O mors, quam amara est Appenzeller MusaeJovis de Rore Calami sonum ferentes Hassler Ad domi/ium Zielenski Vox in r<|ma Monteverdi Adoramus te Funded in part by an award from the National Endowment for the Arts. Art Works. dia Partners WRCJ 90.9 FM and WDET 101.9 FM.

Call or click for tickets! urns 734.764.2538 \ www.ums.org urns presents Stile Antico

Program Wednesday Evening, December 7, 2011 at 7:30 St. Andrew's Episcopal Church • Ann Arbor Puer Natus Est ^ ^

Plainchant Veni Emmanuel

Thomas Tallis Videte miraculum ^

William Byrd Tollite portas

Tallis Missa Puer natus est (excerpt) Gloria

Byrd Ave Maria

Robert White Magnificat

INTERMISSION

John Taverner Audivi vocem de caelo

Tallis Missa Puer natus est (excerpts) Sanctus Benedictus •

Byrd Rorate caeli

Tallis Missa Puer natus est (excerpt) Agnus Dei

Byrd Ecce Virgo concipiet

Plainchant Puer natus est

John Sheppard Verbum Caro

28th Performance of the This evening's performance is sponsored by Gary Boren. 133rd Annual Season Media partnership is provided by WRCJ 90.9 FM. UMS Voices Series Stile Antico appears by arrangement with Knudsen Productions.

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 11/12 Stile Antico

Puer natus est vowel in the original text. We even hear the melody Music for Advent and Christmas in retrograde at one point during the mass. This elaborate cantus firmus treatment, Tallis's varied he backbone of this program of Advent palette of contrapuntal techniques, and the work's and Christmas music is Thomas Tallis's carefully proportioned structure together render this extraordinary yet incomplete Christmas magisterial mass setting one of the most strikingly T period. mass, Missa Puer natus est. In spite of the work's unusual and innovative works of the phenomenal scope, there is no conclusive evidence The second thread running through the program as to its origin. One attractive theory holds that is the group of four Byrd Propers—the seasonal the mass was first performed by the joint forces liturgical texts set for Votive Mass of the Blessed of Queen Mary's Chapel Royal and Philip II of Virgin Mary during Advent. These come from Spain's renowned Cap/7/a Flamenca in December the Gradualia of 1605, the first of two books in 1554 (Philip and Mary had married earlier in the which Byrd set out to provide the recusant Catholic year). It is based on the plainchant Puer natus est community with a comprehensive array of musical nobis—the introit for Christmas Day mass—and it settings of the Mass Propers throughout the year. has been suggested that the plainchant may well As was Byrd's custom in Gradualia, these works have held a double entendre for its first hearers, as are models of concision; each one is perfectly Mary was at the time erroneously believed to be proportioned and compellingly individual, yet Byrd pregnant with a much-hoped-for heir. The work's develops his musical ideas over a comparatively lavish and unusual seven-part scoring, and the short space of time, and is as economical with presence of Flemish influences in Tallis's writing, his use of material as he is efficient in his (mostly lend weight to this theory. On the other hand, the syllabic) word setting. Nonetheless, his masterful question of exactly when the first performance control of texture ensures that each point of might have taken place presents a problem. imitation is clearly declaimed. We know that such a "joint service" took place Perhaps it is Byrd's tonal resourcefulness and at St. Paul's Cathedral on December 2, but that his genius for striking motivic invention that is unlikely to have been the occasion on which stands out here, though. Tollite portas is a prime this mass was performed: Tallis surely knew the example of the latter, where the opening point— difference between Advent and Christmas, and festive and fanfare-like as the King of Glory is cared! Furthermore, as one scholar has argued, welcomed through the gates of Heaven—gives it seems improbable that Tallis "would have been way to an ascending scale as the psalmist asks so insensitive as to use a text beginning "Puer "Who shall ascend the hill of the Lord?" Rorate natus est nobis" to celebrate the Queen's rumored Caeli is similarly memorable for its persistent pregnancy when the sex of the child, the survival ascending and descending motifs—as if to of both child and mother, and the stability of the illustrate the believer calling up to the heavens, realm would all have been causes of trepidation which, in turn, pour down justice. By contrast, rather than rejoicing." ' the power of £cce Virgo is in the awe and wonder Whatever the work's original purpose, what created by the unexpected shifts in tonality in the is not in doubt is its extraordinary scale, and opening passage. These lend a palpable sense virtuosic compositional intricacy. The impression of anticipation which is only fulfilled at the final it leaves is one of immense grandeur, an effect return to the tonic key of c minor as the name of created at least in part by the steady progression the promised child—"Emmanuel"—is revealed. In of the cantus firmus, coupled with the almost Ave Maria Byrd creates another striking effect by unbroken use of a seven-part texture throughout. effectively interrupting the opening platitudes of While the manner of his imitation seems to reflect the angel's greeting—set to short, graceful phrases the latest trends of continental composition, the in the tonic minor—with an astonishingly luxuriant use of a different plainchant melody as a cantus cadence in the relative major at the claim "the firmus is very much a nod to the conventions of Lord is with thee." It is as if, just for a moment, earlier generations. Indeed, Tallis's treatment of he involves us deeply in the emotive power of the plainchant is governed by an extraordinarily those words, before readopting a more detached complex quasi-medieval numerological scheme, contemplative stance; the final alleluias graciously whereby each note is assigned a value based on its ooze simplicity itself. UMS 11/12 Stile Antico

The earliest polyphonic work in the program, stand awestruck before a fine painting of the Taverner's Audivi vocem de caelo follows the Virgin and Child. In Verbum Cam, by contrast, common pattern of alternating polyphony Sheppard creates a radiant and sensuously and plainchant, and is, liturgically speaking, a enveloping sound-world spanning a huge vocal responsory for All Saints, though the gospel range, characterized by thrilling harmonic turns, passage from which the text originates is closely his uniquely quirky approach to part-writing, and associated with Advent. The piece is striking for its some truly daring sonorities. Never one to sacrifice close-knit four-part texture and narrow tessitura, a thrilling effect on the altar of contrapuntal making it particularly suitable for performance by integrity, Sheppard calls upon his trebles to divide upper voices alone; indeed, there is evidence to into a three-part gymel at the very end of the suggest that it might have been sung by a quartet polyphony, in order to finish on a glorious eight- of boy trebles. In other respects, the soaring part chord. musical language of this piece is very typical of Taverner's style, though there are also some 1 David Humphreys, "Tallis's Susdpe quaeso," Early Music interesting turns—perhaps most notably the bold XXVIII no. 3 (August 2000), 508. passing dissonance in the very first phrase of the polyphony, which results in a peculiarly arresting start to the piece. If Taverner's motet'is notable for its narrow tile Antico is an ensemble of young British compass, the opposite can be said for Robert singers, now established as one of the White's expansive and virtuosic Magnificat, a S most original and exciting voices in its field. work which rivals many of John Sheppard's for Much in demand in concert, the group performs its huge range—well over three octaves spread regularly throughout Europe and North America. over up to six parts. White's consistently inventive Their recordings on the Harmonia Mundi label musical ideas and his imaginative and varied have enjoyed great success, winning awards approach to melodic writing render this work including the Diapason d'or de I'annee and the a veritable contrapuntal tour-de-force. Again, Preis der deutschen Schallplattenkritik, and have plainchant verses alternate with counterpoint, twice attracted Grammy Award nominations. but the contrapuntal verses themselves vary in Their recent release, Song of Songs, won the 2009 conception: some are scored for full six-part Gramophone Award for Early Music and reached choir, with the plainsong Magnificat tone sung as the top of the US classical chart. a cantus firmus in the tenor; others use smaller Working without a conductor, the members configurations of voices requiring subdivision of of Stile Antico rehearse and perform as chamber musicians, each contributing artistically to the parts, changing at a chosen point in each verse, affording the composer the opportunity to exploit musical result. Their performances have repeatedly been praised for their vitality and commitment, a wonderful diversity of different textures. At one expressive lucidity, and imaginative response point the plainchant moves to the mean voice; in to text. Stile Antico's repertoire ranges from the others it disappears almost completely, left only as glorious legacy of the English Tudor composers to a fragmented memory in some points of imitation. the works of the Flemish and Spanish schools and The remaining two works are both based on the music of the early Baroque. They are regularly a strict monorhythmic cantus firmus according invited to lead courses at Darlington International to the old tradition: the plainchant appears in Summer School, and their commitment to regular semibreves in the tenor voice throughout educational work has been recognized through the polyphonic sections of the piece, which generous funding from the National Lottery alternate with plainchant. The two composers, through Arts Council England. however, create startlingly different works. Videte Stile Antico's recent engagements include miraculum is one of Tallis's most sublime: through debuts at the BBC Proms; the Amsterdam careful control of texture and harmonic rhythm, Concertgebouw; early music festivals in Boston, lulling use of repetition on several levels, and a Bruges, Barcelona, and Utrecht; and at the masterfully paced development of motifs, Tallis's Cervantino Festival in Mexico. The group has motet effuses an extraordinary sense of rapt toured extensively with Sting, appearing across adoration, stillness, and mystery; to hear it is to UMS Stile Antico

Europe, Australia, and the Far East as part of his Stile Antico Dowland project Songs from the Labyrinth. In 2011, Stile Antico made its debut at London's Wigmore Hall, appeared at leading festivals Soprano Tenor . : throughout Europe, and toured twice in the US. Helen Ashby Jim Clements Kate Ashby Andrew Griffiths Rebecca Hickey Benedict Hymas

UMS Archives Alto Bass Emma Ashby James Arthur Stile his evening's performance marks Eleanor Harries Will Dawes Antico's second UMS appearance. Kathy Nicholson Oliver Hunt TThe ensemble made its UMS debut Ed Elias in October 2009 at St. Francis of Assisi. Catholic Church. I