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AMERICAN CLASSICS WILLIAM BOLCOM

Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake)

Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2

Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan

University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin

Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.

Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.

“Songs of Innocence and of Experience” by William Bolcom is copyright g 1985 by Edward B. Marks Music Company. BMI.

Live Concert Production Producers: Michael Kondziolka and Bradley Bloom Concert Sound Engineer: Roger Amett Production Support: Jasper Gilbert (Director), Emily Avers, Claire Rice, Sue Hamilton, Jeffrey Beyersdorf, David Aderente, Robert Grijalva, Mark Jacobson Concert Sponsorship: Maxine and Stuart Frankel Foundation and Linda and Maurice Binkow The Regents of the University of Michigan University Musical Society Board of Directors Above: Ilana Davidson sings “The Angel” from Songs of Experience. Top right: Measha Brueggergosman performs “The Lamb” Live Concert produced by The University of Michigan School of Music, Karen Wolff, Dean, and the University in Songs of Innocence. Musical Society, Kenneth Fischer, President, on April 8th 2004 at Hill Auditorium, Ann Arbor, Michigan. Bottom right: Joan Morris sings “The Little Vagabond” with Tommy Morgan and Peter “Madcat” Ruth on harmonicas. 8.559216-18 2 39 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 38

Songs of Innocence ! Holy Thursday CD 2 43:00 and of Experience U-M Chamber Choir Soloists 1:08 Songs of Experience, Volume I Combined Choruses Part I CD 1 51:29 Songs of Innocence @ The Blossom 0:41 1 Introduction 2:20 Part I Measha Brueggergosman Orchestra

1 Introduction 3:08 # Interlude 0:25 2 Hear the Voice of the Bard 2:55 Thomas Young Orchestra Nmon Ford

2 The Ecchoing Green 2:32 $ The Chimney Sweeper 3:14 3 Interlude 0:51 Combined Choruses Nathan Lee Graham Orchestra U-M Chamber Choir 3 The Lamb 3:20 4 Earth’s Answer 4:54 Measha Brueggergosman % The Divine Image 3:50 Christine Brewer Joan Morris 4 The Shepherd 2:14 Peter “Madcat” Ruth Part II Part III 5 Infant Joy 1:58 5 Nurse’s Song 1:10 Marietta Simpson ^ Nocturne 2:03 Joan Morris MSU Children’s Choir Orchestra Above: Actor and singer 6 The Fly 1:43 6 The Little Black Boy 4:07 & Night 5:01 MSU Children’s Choir Nathan Lee Graham Nathan Lee Graham Thomas Young speaks the part of “The 7 The Tyger 1:50 Chimney Sweeper” in * A Dream 1:41 Combined Choruses Songs of Innocence. Part II Ilana Davidson 8 The Little Girl Lost 1:10 7 Laughing Song 0:33 ( On Another’s Sorrow 1:53 Nmon Ford Right: Tommy Morgan on U-M Chamber Choir Combined Choruses harmonica in Songs of 9 In the Southern Clime 2:08 8 Spring 1:45 ) The Little Boy Lost 2:48 U-M Chamber Choir Innocence . Thomas Young Carmen Pelton Combined Choruses Combined Choruses 0 The Little Girl Found 4:47 Combined Choruses 9 A Cradle Song 4:04 ¡ The Little Boy Found 1:56 Linda Hohenfeld Nathan Lee Graham

0 Nurse’s Song 1:36 ™ Coda 1:32 Joan Morris Orchestra

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Part III CD 3 42:42 8 A Little Girl Lost 4:44 Songs of Experience, Volume II Nmon Ford ! The Clod and the Pebble 1:47 Part IV Christine Brewer Thomas Young 1 The Voice of the Ancient 9 Infant Sorrow 2:23 @ The Little Vagabond 2:31 Bard 2:29 U-M Chamber Choir Soloists Joan Morris Nmon Ford 0 Vocalise 2:57 # Holy Thursday 2:44 2 My Pretty Rose Tree 1:43 Combined Choruses Carmen Pelton Chorus Men

$ A Poison Tree 2:09 3 Ah! Sun-Flower 2:30 Part VI Nathan Lee Graham U-M Chamber Choir ! London 3:54 % The Angel 3:15 4 The Lilly 1:36 Nathan Lee Graham Ilana Davidson Thomas Young Combined Choruses @ The School-Boy 3:23 ^ The Sick Rose 3:14 Linda Hohenfeld Marietta Simpson Part V # The Chimney Sweeper 1:20 & To Tirzah 3:32 5 Introduction to Part V 0:49 U-M Chamber Choir Nathan Lee Graham Orchestra Combined Choruses $ The Human Abstract 3:22 6 The Garden of Love 2:04 Nmon Ford Above: Soprano Christine Thomas Young Brewer in the dramatic “Earth's % Interlude: Voces Clamandae 1:32 Answer,” Songs of Experience. 7 A Little Boy Lost 2:27 Orchestra Carmen Pelton Combined Choruses ^ A Divine Image 5:29 Top right: Contralto Marietta Nathan Lee Graham, Soloists, Simpson in “Infant Joy,” Songs and Combined Choruses of Innocence.

Right: Baritone Nmon Ford opens Songs of Experience with “Hear the Voice of the Bard.”

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O! father & mother, if buds are nip’d He sits down with holy fears, William Bolcom (b. 1938) And blossoms blown away, And waters the grounds with tears; And if the tender plants are strip’d Then Humility takes its root Songs of Innocence and of Experience: A Musical Illumination of the Poems of William Blake Of their joy in the springing day, Underneath his foot. Ever since I was seventeen, when the reading of William spiritual climate and progressing ever further in Shewing By sorrow and care’s dismay, Blake was to make a profound difference to my life, I have the Two Contrary States of the Human Soul. With slight Soon spreads the dismal shade wanted to set the entire Songs of Innocence and of changes I have used Blake’s last ordering in my piece. I How shall the summer arise in joy, Of Mystery over his head; Experience to music. Several songs were actually had always wanted to end the evening with The Divine Or the summer fruits appear? And the Catterpiller and Fly completed in 1956; The Sick Rose, and the opening, Image, which Blake had engraved and then rejected for Or how shall we gather what griefs destroy, Feed on the Mystery. revised, of the Songs of Innocence, are survivors of that the Experience cycle, and I revised the order of the last Or bless the mellowing year, time, and the work remained in my mind until 1973, when part to accommodate the poem. When the blasts of winter appear? And it bears the fruit of Deceit, I moved to Ann Arbor to teach at the University of The Blakean principle of contraries — “Without Ruddy and sweet to eat; Michigan. I felt that I could thus simplify my life enough Contraries is no progression. Attraction and Repulsion, And the Raven his nest has made to be able to realise the cycle I had dreamed of for so long. Reason and Energy, Love and Hate, are necessary to # The Chimney Sweeper In its thickest shade. Most of the work was completed in the years 1973-74 Human existence.” (The Marriage of Heaven and Hell) — and 1979-82; the opening of the Songs of Experience was would also dominate my approach to the work, A little black thing among the snow, The Gods of the earth and sea fully sketched in 1966 and several of the major songs date particularly in matters of style. Current Blake research has Crying “‘weep! ‘weep!” in notes of woe! Sought thro’ Nature to find this Tree; from the early and middle 1970s. The largest problem was tended to confirm what I had assumed from the first, that “Where are thy father & mother? say?” But their search was all in vain: the form the entire setting would take. It could not be a at every point Blake used his whole culture, past and “They are both gone up to the church to pray. There grows one in the Human Brain. standard opera, and the stopping and starting that present, highflown and vernacular, as sources for his many constantly bedevils the oratorio form would prove fatal for poetic styles. Throughout the entire Songs of Innocence “Because I was happy upon the heath, 46 poems over an evening. and of Experience, exercises in elegant Drydenesque And smil’d among the winter’s snow, % Interlude: Voces Clamandae The final ordering of the Songs left by Blake, as will diction are placed cheek by jowl with ballads that could They clothed me in the clothes of death, be seen, is quite different from the one I had become used have come from one of the “songsters” of his day (small, And taught me to sing the notes of woe. to in my earliest reading. In the 1880s William Muir, an popular books or pamphlets of words set to well-known ^ A Divine Image artist greatly involved with the revival of interest in tunes, in the manner of John Gay’s 1728 Beggar’s Opera). “And because I am happy & dance & sing, Blake’s engravings and paintings, actually printed some of It is as if many people from all walks of life were They think they have done me no injury, Cruelty has a Human Heart, the poet’s works from the original copper plates. He then speaking, each in a different way. The apparent And are gone to praise God & his Priest & King, And Jealousy a Human Face; (as Blake with his wife Catherine had done) hand- disharmony of each clash and juxtaposition eventually Who make up a heaven of our misery.” Terror the Human Form Divine, coloured them, although, to my mind, not as interestingly produces a deeper and more universal harmony, once the And Secrecy the Human Dress. or vividly as had Blake himself. In Muir’s edition of The whole cycle is absorbed. All I did was to use the same Marriage of Heaven and Hell (1888) I found by chance in stylistic point of departure as Blake in my musical $ The Human Abstract The Human Dress is forged Iron, the appendix an ordering of the Songs of Innocence and of settings. The Human Form a fiery Forge, Experience (reproduced in what looks very much like If any one work of mine has been the chief source and Pity would be no more The Human Face a Furnace seal’d, Blake’s own hand); Blake had presumably left this for his progenitor of the others, I would have to say that this is it. If we did not make somebody Poor; The Human Heart is hungry Gorge. wife should anyone have wanted a further printing of the My fascination with the synthesis of the most unlikely And Mercy no more could be Songs, which had been one of the few of his engraved stylistic elements dates from my knowledge and If all were as happy as we. works that had had any sale. (Evidently no one asked application of Blake’s principle of contraries, and I have Catherine Blake for a copy.) spent most of my artistic life in pursuit of this higher And mutual fear brings peace, This ordering, new to me, gave me what I needed in synthesis. In this work, through my settings, I have tried Till the selfish loves increase: trying to find an overall shape to the work: a series of my best to make everything clear; I have used music in the Then Cruelty knits a snare, arches, in both subject and emotion, that marked the piece same way Blake used line and colour, in order to And spreads his baits with care. off into nine clear movements, each inhabiting a certain illuminate the poems.

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To me, William Blake is the most urgent of poets. to where we are now. If there is any solution to our Tired with kisses sweet, In every cry of every Man, What he says is as immediate as ever, but particularly to unending crisis, it is only through acceptance and They agree to meet In every Infant’s cry of fear, us: he came from an epoch of social change as total as understanding of our own nature, and if I have caused a When the silent sleep In every voice, in every ban, ours. With clear and unjudging vision Blake saw where more careful listening to Blake’s message, then my work Waves o’er heaven’s deep, The mind-forg’d manacles I hear. the human race was heading; it could be argued that the over a span of 25 years will not have been in vain. And the weary tired wanderers weep. Songs of Innocence and of Experience may be the most How the Chimney-sweepers cry lucid explanation we have of what forces have brought us William Bolcom, 1984 To her father white Every black’ning Church appalls; Came the maiden bright; And the hapless Soldier’s sigh Recollections on the Twentieth Anniversary of Songs of Innocence and of Experience But his loving look, Runs in blood down Palace walls. Like the holy book, After the April 1984 United States première of this work in inertia has occurred is a subject best explored elsewhere, but All her tender limbs with terror shook. But most thro’ midnight streets I hear Ann Arbor’s Hill Auditorium – the world’s first it would seem likely that any organization as codified, as How the youthful Harlot’s curse performances had taken place 8th and 9th January of that rigidly delineated as today’s orchestra is in danger of “Ona! pale and weak! Blasts the new born Infant’s tear, year with the Stuttgart Opera Orchestra under Dennis disappearing.) The University of Michigan School of Music To thy father speak: And blights with plagues the Marriage hearse. Russell Davies – there have been twelve performances of provided a possible escape from this unevolved orchestra. A O, the trembling fear! Songs of Innocence and of Experience: at Grant Park in rough demographic analysis of the student population taken O, the dismal care! Chicago with Gustav Meier, who did the first Ann Arbor in the aggregate yields a potential orchestra including That shakes the blossoms of my hoary hair.” @ The School-Boy performance; with the Brooklyn Philharmonic under Lukas saxophones, expanded percussion and brass, and electric Foss; with the Saint Louis Symphony, both there and in instruments; all these are represented onstage along with the I love to rise in a summer morn New York, and the BBC Symphony in London, also under varied musical styles these instruments and their players 9 Infant Sorrow When the birds sing on every tree; Leonard Slatkin; and with the Pacific Symphony in Costa bring to our new orchestra. The distant huntsman winds his horn, Mesa in Southern California under former Ann Arborite More important, even though Stuttgart has had the My mother groan’d! my father wept. And the sky-lark sings with me. Carl St Clair. A piece of its sheer size cannot hope to be world première, Songs of Innocence and of Experience had Into the dangerous world I leapt: O! what sweet company. played too often, and I am still amazed, twenty years later, been primarily meant to be a work involving our whole Helpless, naked, piping loud: that it has been heard all these times, sixteen performances School of Music. (A school of our size could fall too easily Like a fiend hid in a cloud. But to go to school in a summer morn, in all. into watertight departmental thinking on the part of both O! it drives all joy away; I was once afraid it would never be heard or even faculty and students; what a shame not to get to know and Struggling in my father’s hands, Under a cruel eye outworn, finished. Although parts of Songs date from almost fifty collaborate with other kinds of musicians, or actors, or Striving against my swadling bands, The little ones spend the day years ago, I certainly did not (and economically could not) dancers, in one’s learning years!) In the chorus of a St Bound and weary I thought best In sighing and dismay. work on it steadily; Songs is one of those works one does Matthew Passion performance when a student in Seattle, I To sulk upon my mother’s breast. without commission. Finding time and relative peace to experienced a deep feeling of oneness with the whole Ah! then at times I drooping sit, compose it in the sheer all-day effort to survive freelance in community of musicians onstage that permeated my soul; And spend many an anxious hour, New York had proved impossible. When we moved to Ann we were singers and instrumentalists, each from different 0 Vocalise Nor in my book can I take delight, Arbor, finally I was able to put the piece together; of course disciplines, brought spiritually together by Bach’s music. I Nor sit in learning’s bower, I did not realise that my wife Joan Morris and I would still vowed some day to write something that could afford such Worn thro’ with the dreary shower. be here thirty-something years later. an experience to students after me, that would permit a true Part VI You will notice many instruments unusual to the bringing of many kinds of performers together; the hope is How can the bird that is born for joy orchestra. I love writing for the “modern” symphony that the greater understanding of ourselves that Blake leads ! London Sit in a cage and sing? orchestra, but often I am confronted with the sad fact that its us toward in this cycle will thus be experienced here How can a child, when fears annoy, disposition, the term for its total instrumentation, has hardly communally, on and off stage. The knowledge these poems I wander thro’ each charter’d street, But droop his tender wing, evolved since World War I. (Up until then the orchestra gives us is often frightening, but it makes us free and in the Near where the charter’d Thames does flow, And forget his youthful spring? admitted instrument after instrument when players in each end gives us joy. And mark in every face I meet attained a certain level of proficiency; why the subsequent William Bolcom, 2004 Marks of weakness, marks of woe. 8.559216-18 6 35 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 34

Part V And standing on the altar high, William Bolcom “Lo! what a fiend is here!” said he, 5 Introduction to Part V “One who sets reason up for judge At age 11, Seattle-born composer Of our most holy Mystery.” and pianist William Bolcom entered the University of Washington as a 6 The Garden of Love The weeping child could not be heard, private student of George Frederick The weeping parents wept in vain; McKay and John Verrall; he also I went to the Garden of Love, They strip’d him to his little shirt, studied piano with Madame Berthe And saw what I never had seen: And bound him in an iron chain; Poncy Jacobson, already main- A Chapel was built in the midst, taining an active solo piano recital Where I used to play on the green. And burn’d him in a holy place, career. While working on his Where many had been burn’d before: Master of Arts degree, he studied And the gates of this Chapel were shut, The weeping parents wept in vain. with Darius Milhaud at Mills And “Thou shalt not” writ over the door; Are such things done on Albion’s shore? College and later at the Paris So I turn’d to the Garden of Love Conservatoire where he received That so many sweet flowers bore; the 2ème Prix de Composition. 8 A Little Girl Lost During this time he wrote stage And I saw it was filled with graves, scores for West German companies And tomb-stones where flowers should be; Children of the future Age and later at Stanford University, for And Priests in black gowns were walking their rounds, Reading this indignant page, regional theaters, and at Lincoln And binding with briars my joys & desires. Know that in a former time Center/New York. He earned his Love! sweet Love! was thought a crime. doctorate at Stanford University. Bolcom has taught at the Photograph courtesy of 7 A Little Boy Lost In the Age of Gold, University of Michigan since 1973, Peter Smith/University Musical Society Free from winter’s cold, where he is the Ross Lee Finney “Nought loves another as itself, Youth and maiden bright Distinguished Professor of Music in Composition; has undertaken commissions from organizations and individuals Nor venerates another so, To the holy light, worldwide; and has received numerous honors and awards, including the 1988 Pulitzer Prize for Music for his 12 Nor is it possible to Thought Naked in the sunny beams delight. New Etudes for Piano. He holds honorary doctorates from Albion (Michigan) College, New England Conservatory A greater than itself to know: of Music, San Francisco Conservatory, and the New School University/New York. In 2003 he received the Once a youthful pair, Distinguished Alumnus Award from the University of Washington. “And Father, how can I love you Fill’d with softest care, Bolcom’s compositions, widely performed and recorded, include seven symphonies (written for the National Or any of my brothers more? Met in garden bright Symphony, The MET Orchestra, The Philadelphia Orchestra, Saint Louis Symphony, and the Saint Paul Chamber I love you like the little bird Where the holy light Orchestra), chamber music (for Yo-Yo Ma, the Beaux Arts Trio, Nadja Salerno-Sonnenberg, and others), concertos That picks up crumbs around the door.” Had just remov’d the curtains of night. (for James Galway, Gary Graffman, Leon Fleisher, Sergiu Luca, Stanley Drucker, and others), three “cabaret operas” for actor-singers, and an extensive catalog of keyboard, vocal (for Benita Valente, Marilyn Horne, and The Priest sat by and heard the child, There, in rising day, others), and choral music. The Graceful Ghost Rag, written in memory of his father, has been recorded about 20 In trembling zeal he siez’d his hair: On the grass they play; times by pianists and other instrumentalists. Lyric Opera of Chicago has commissioned him to write four operas, of He led him by his little coat, Parents were afar, which three are completed: McTeague (1992), A View from the Bridge (1999), and A Wedding, which premières in And all admir’d the Priestly care. Strangers came not near, 2004. All libretti are by Arnold Weinstein, Bolcom’s collaborator of over 40 years. And the maiden soon forgot her fear. Since 1973 Bolcom has accompanied his wife, mezzo-soprano Joan Morris, in performances both onstage and on two dozen recordings of American popular song. For Morris, Bolcom and Weinstein wrote Cabaret Songs, which have become standard in many singers’ repertoires.

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Leonard Slatkin & To Tirzah 2 My Pretty Rose Tree

Internationally recognised as one of today’s leading conductors, Leonard Slatkin is Music Whate’er is Born of Mortal Birth A flower was offer’d to me, Director of the National Symphony Orchestra and Chief Conductor of the BBC Symphony Must be consumed with the Earth Such a flower as May never bore; Orchestra in London. After a distinguished tenure as Music Director of the Saint Louis To rise from Generation free: But I said “I’ve a Pretty Rose-tree,” Symphony from 1979 until 1996, he was named Conductor Laureate. His more than a Then what have I to do with thee? And I passed the sweet flower o’er. hundred recordings have been recognised with four Grammy awards and more than fifty Grammy nominations. His discography includes a number of recordings devoted to the The Sexes sprung from Shame & Pride, Then I went to my Pretty Rose-tree, works of American composers, such as Corigliano, Schwantner, Barber, Piston, Ives, Blow’d in the morn, in evening died; To tend her by day and by night; Schuman, Copland, and Bernstein. Since his débuts with the Chicago Symphony and the But Mercy chang’d Death into Sleep; But my Rose turn’d away with jealousy, New York Philharmonic in the early 1970s, Leonard Slatkin has been a frequent guest The Sexes rose to work & weep. And her thorns were my only delight. conductor of the world’s major symphony orchestras, including those of London, Paris, Berlin, New York, Philadelphia, Chicago, Cleveland, Boston, Tokyo, and Tel Aviv. His Thou, Mother of my Mortal part, international festival responsibilities have included the Festival of American Music at With cruelty didst mould my Heart, 3 Ah! Sun-Flower London’s South Bank Centre, for which he served as Artistic Director. In June 1999 he led And with false self-deceiving tears an American Festival in Amsterdam with the Royal Concertgebouw Orchestra and the Didst bind my Nostrils, Eyes, & Ears: Ah, Sun-flower! weary of time, Lincoln Center Jazz Orchestra. His operatic conducting includes performances with the Metropolitan Opera, the Lyric Who countest the steps of the Sun, Opera of Chicago, the Vienna State Opera, the Hamburg Opera, the Stuttgart Opera, the Washington Opera, and Didst close my Tongue in senseless clay, Seeking after that sweet golden clime France’s L’Orange Festival and Opera National de Paris. He is the recipient of the 2003 National Medal of Arts (the And me to Mortal Life betray. Where the traveller’s journey is done: highest award given to artists by the United States Government), ASCAP awards with both the National Symphony The Death of Jesus set me free: and the Saint Louis Symphony for “adventuresome programming of contemporary music,” an honorary doctorate from Then what have I to do with thee? Where the Youth pined away with desire the Juilliard School, and the prestigious Declaration of Honour in Silver from the Austrian ambassador to the United And the pale Virgin shrouded in snow States for outstanding contributions to cultural relations. In 1993 he received the Laurel Leaf Award from the Arise from their graves, and aspire American Composers Alliance and was named an honorary member of the Royal Academy of Music. For his work in CD 3 Where my Sun-flower wishes to go. the community, he was honoured with the 1998 Community Service Award from the Anti-Defamation League, and he has been awarded the George Peabody Medal for Outstanding Contributions to Music in America. Songs of Experience, Volume II Part IV 4 The Lilly Christine Brewer 1 The Voice of the Ancient Bard The modest Rose puts forth a thorn, In concert, the American soprano Christine Brewer has appeared under the batons of Kurt The humble Sheep a threat’ning horn; Masur, Robert Shaw, Pierre Boulez, Michael Tilson Thomas, Christoph von Dohnányi, Simon Youth of delight, come hither, While the Lilly white shall in Love delight, Rattle, Neville Marriner, Leonard Slatkin, and Charles Dutoit. She regularly performs with the And see the opening morn, Nor a thorn, nor a threat, stain her beauty bright. world’s leading orchestras, including the Chicago, Boston, and San Francisco Symphonies; the Image of truth new born. Cleveland, Philadelphia, New York, and Los Angeles Philharmonic Orchestras; the London Doubt is fled, & clouds of reason, and National Symphony Orchestras; the Orchestre de Paris, the Orchestra of the Age of Dark disputes & artful teazing. Enlightenment, and the Academy of St Martin-in-the-Fields. The 2002-3 season marked her Folly is an endless maze, Metropolitan Opera début in the title rôle of Ariadne auf Naxos. She has performed her Tangled roots perplex her ways. signature role of Donna Anna in Don Giovanni to critical acclaim at Covent Garden, New York How many have fallen there! City Opera, Florida Grand Opera, Opera Theatre of Saint Louis, and the Edinburgh Festival. They stumble all night over bones of the dead, She has also performed with the Opéra de Lyon, the Paris Châtelet, the Santa Fe Opera, English National Opera, and And feel they know not what but care, Opera Colorado. In addition to many recital appearances at London’s Wigmore Hall, she has also graced Lincoln And wish to lead others, when they should be led. Center’s “Art of the Song” series at Alice Tully Hall and performed in St Louis, Portland (Oregon), and Oklahoma City. Her recordings include a contribution to Hyperion’s prestigious Schubert series. 8.559216-18 8 33 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 32

# Holy Thursday And into my garden stole Measha Brueggergosman When the night had veil’d the pole: Is this a holy thing to see In the morning glad I see The critically acclaimed soprano Measha Brueggergosman was awarded the Grand Prize at the In a rich and fruitful land, My foe outstretch’d beneath the tree. 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner in Babes reduc’d to misery, other renowned competitions including the Wigmore Hall in London, George London Fed with cold and usurous hand? Foundation in New York, and Robert-Schumann in Germany. In a busy international career she % The Angel has appeared throughout North America and Europe, including a Royal Command Performance Is that trembling cry a song? for Queen Elizabeth II. She also appeared as Liù in Turandot in a return engagement with Can it be song of joy? I dreamt a Dream! what can it mean! Cincinnati Opera. She has been honoured to sing for the Prince of Wales and for Nelson And so many children poor? And that I was a maiden Queen, Mandela. Recent operatic engagements have brought appearances in Turandot, Elektra and Dead It is a land of poverty! Guarded by an Angel mild: Man Walking with Cincinnati Opera, and, in the concert hall, a recital début at Roy Thomson Witless woe was ne’er beguil’d! Hall, and the Verdi Requiem with Helmuth Rilling at the International Beethoven Festival Bonn. And their sun does never shine, And their fields are bleak & bare, And I wept both night and day, Ilana Davidson And their ways are fill’d with thorns: And he wip’d my tears away, It is eternal winter there. And I wept both day and night, The soprano Ilana Davidson made her début at Lincoln Center with Leon Botstein and the And hid from him my heart’s delight. American Symphony Orchestra in Orff’s Trionfo di Afrodite. She made her Carnegie Hall For where-e’er the sun does shine, début as soloist with Leonard Slatkin and the St Louis Symphony in William Bolcom’s And were-e’er the rain does fall, So he took his wings and fled; Songs of Innocence and of Experience. She is a graduate of the Curtis Institute of Music and Babe can never hunger there, Then the morn blush’d rosy red; Carnegie Mellon University. Ilana Davidson has sung major rôles with opera companies Nor poverty the mind appall. I dried my tears, & arm’d my fears including the Stuttgart Opera, Vlaamse Opera, Nationale Reisopera, Florida Grand Opera, With ten thousand shields and spears. Glimmerglass Opera, and the Opera Company of Philadelphia. She has also performed extensively in oratorio and in a wide-ranging concert repertoire. She made her début in $ A Poison Tree Soon my Angel came again: Amsterdam’s Concertgebouw singing Mozart arias, and frequently performs contemporary I was arm’d, he came in vain; works, giving first performances of compositions by Bolcom, Ligeti, Rorem, Kurtág, I was angry with my friend: For the time of youth was fled, Krenek, and Weill. I told my wrath, my wrath did end. And grey hairs were on my head. I was angry with my foe: I told it not, my wrath did grow. Nmon Ford ^ The Sick Rose And I water’d it in fears, The Panamanian-American baritone Nmon Ford has performed throughout the Americas, Night & morning with my tears; O Rose, thou art sick! Europe, and Japan. He has appeared with the operas of San Francisco, Los Angeles, Utah, And I sunned it with smiles, The invisible worm Portland, Memphis, Syracuse, Virginia, Kansas City, Madison, San Jose, and Spoleto Festival And with soft deceitful wiles. That flies in the night, U.S.A. in rôles including Don Giovanni, Escamillo (Carmen), Figaro (Il barbiere di Siviglia), In the howling storm, Marcello (La bohème), Valentin (Faust), Arsamene (Xerxes) Aeneas (Dido and Aeneas), And it grew both day and night, Enrico (Lucia di Lammermoor), Sharpless (Madama Butterfly), Riccardo (I puritani), and Till it bore an apple bright; Has found out thy bed Mahmoud (The Death of Klinghoffer). He made his New York recital début with the Marilyn And my foe beheld it shine, Of crimson joy, Horne Foundation’s “On Wings of Song” Series at the Kosciuszko Foundation. He has And he knew that it was mine, And his dark secret love recorded Villa Lobos’ Symphony No. 10 “Amerindia” and The Sweetest Brilliance — Songs of Does thy life destroy. Bolcom and Weinstein.

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Nathan Lee Graham In his arms he bore Part III Her, arm’d with sorrow sore; Actor and singer Nathan Lee Graham’s eclectic career includes such feature films as Sweet Till before their way ! The Clod and the Pebble Home Alabama and Zoolander, the internationally renowned television show Absolutely A couching lion lay. Fabulous, the Broadway production of the Tony and Grammy nominated musical The Wild “Love seeketh not Itself to please, Party, the first national touring company of Jesus Christ Superstar, as well as countless Turning back was vain: Nor for itself hath any care, commercial and new theatre projects. He previously performed Songs of Innocence and of Soon his heavy mane But for another gives its ease, Experience with the Pacific Symphony Orchestra under the direction of Carl St Clair. He has a Bore them to the ground. And builds a Heaven in Hell’s despair.” BFA in musical theatre from Webster University Conservatory. Then he stalk’d around, So sung a little Clod of Clay Smelling to his prey; Trodden with the cattle’s feet, But their fears allay But a Pebble of the brook When he licks their hands, Warbled out these metres meet: Linda Hohenfeld And silent by them stands. “Love seeketh only Self to please, Linda Hohenfeld has appeared in opera, musical theatre, symphonic concerts, solo recitals, and They look upon his eyes To bind another to Its delight, chamber music performances. She has sung with the Cleveland, Minnesota, Philadelphia, Fill’d with deep surprise, Joys in another’s loss of ease, National, Saint Louis, San Francisco, Vienna, Pittsburgh, and BBC Symphonies, the New York And wondering behold And builds a Hell in Heaven’s despite.” Philharmonic, the Philharmonia in London, the Orchestre National de France in Paris, the A spirit arm’d in gold. Berlin Radio Symphony, and Norddeutscher Rundfunk Sinfonieorchester in Hamburg. She has performed at summer music festivals including Aspen, Cabrillo, Marlboro, Copenhagen’s On his head a crown, @ The Little Vagabond Tivoli Festival, Frankfurt Feste in Germany, and the Blossom Festival with the Cleveland On his shoulders down Orchestra. Her discography includes Vaughan Williams’s Symphonies Nos. 1, 3 and 7, a Flow’d his golden hair. Dear Mother, dear Mother, the Church is cold, recording of Leonard Bernstein’s Songfest and Barber’s Knoxville: Summer of 1915. She is co- Gone was all their care. But the Ale-house is healthy & pleasant & warm; artistic director of the “Women in Music” concert series at the National Museum of Women in the Arts. Besides I can tell where I am used well, “Follow me,” he said; Such usage in Heaven will never do well. Tommy Morgan “Weep not for the maid; In my palace deep But if at the Church they would give us some Ale, Tommy Morgan is the most unique harmonica player in the recording industry today, and Lyca lies asleep.” And a pleasant fire our souls to regale, made his first recording in 1950 in Hollywood with the Andrews Sisters for Decca Records. We’d sing and we’d pray all the live-long day, Longtime “first call” in the studio recording industry, he has recorded for motion pictures, Then they followed Nor ever once wish from the Church to stray. television, records, and commercials. With reruns throughout the world of the long running Where the vision led, television series Green Acres, Sanford and Son, The Waltons, The Rockford Files, The And saw their sleeping child Then the Parson might preach, & drink, & sing, Dukes of Hazzard, The Newhart Show and China Beach, performances on hit records Good Among the tygers wild. And we’d be as happy as birds in the spring; Vibrations (The Beach Boys), Rainy Days and Mondays (The Carpenters), He Ain’t Heavy, And modest Dame Lurch, who is always at Church, He’s My Brother (The Hollys) and others, and a solo appearance on The Academy Awards To this day they dwell Would not have bandy children, nor fasting, nor birch. 2000 television broadcast (estimated audience one billion), his harmonica playing has been In a lonely dell; heard by more people than any other player in history. As a performer, he has given four command performances Nor fear the wolvish howl And God, like a father rejoicing to see and has appeared in concert in over thirty countries. He holds a Master of Arts Degree in Music (Composition) from Nor the lion’s growl. His children as pleasant and happy as he, the University of California at Los Angeles. He has composed background music for episodes of The Twilight Zone, Would have no more quarrel with the Devil or the Barrel, Have Gun, Will Travel, Gunsmoke, and for the Will Rogers, USA television special. He has been arranger for Johnny But kiss him, & give him both drink and apparel. Cash, Glenn Yarbrough, and Rod McKuen.

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9 In the Southern Clime Leopards, tygers, play Joan Morris Round her as she lay, In the southern clime, While the lion old The mezzo-soprano Joan Morris attended Gonzaga University in Spokane prior to her studies Where the summer’s prime Bow’d his mane of gold. at the American Academy of Dramatic Arts in New York. While continuing speech and voice Never fades away, studies, she appeared in Off-Broadway and road productions, at the Café Carlyle, the Lovely Lyca lay. And her bosom lick, Waldorf-Astoria’s Peacock Alley, and other Manhattan nightspots. Since 1973 she has And upon her neck appeared in concerts with her husband, William Bolcom, performing American popular Seven summers old From his eyes of flame songs from the late nineteenth and early twentieth centuries, the latest songs by Leiber and Lovely Lyca told; Ruby tears there came; Stoller, and cabaret songs by Bolcom and Weinstein. They perform extensively throughout She had wander’d long the United States, Canada, and abroad, and have recorded two dozen albums, the first of Hearing wild birds’ song. While the lioness which garnered a Grammy nomination for Morris for “Best Vocal Soloist Performance on a Loos’d her slender dress, Classical Album.” She has performed William Bolcom’s Songs of Innocence and of “Sweet sleep, come to me And naked they convey’d Experience at its world première in Stuttgart and its U.S. première in Ann Arbor in 1984, at Underneath this tree. To caves the sleeping maid. Grant Park in 1986, with the Brooklyn Philharmonic in 1987, at the U.K. première with the BBC Symphony Do father, mother weep, Orchestra in 1996, and with the Pacific Symphony Orchestra in 2003. She has also appeared in various productions Where can Lyca sleep? with the Guthrie Theater and the American Musical Theater Festival, and as soloist with the St Louis and Seattle 0 The Little Girl Found Symphony Orchestras. Since 1981 she has taught a cabaret class at the University of Michigan School of Music. “Lost in desart wild Is your little child. All the night in woe How can Lyca sleep Lyca’s parents go If her mother weep? Over vallies deep, While the desarts weep. Carmen Pelton “If her heart does ake Then let Lyca wake; Tired and woe-begone, The soprano Carmen Pelton came to international attention when she made her début as If my mother sleep, Hoarse with making moan, Fiordiligi in Così fan tutte with the Aldeburgh Festival. She has since performed many of Lyca shall not weep. Arm in arm seven days Mozart’s heroines, including Donna Anna in Don Giovanni, Giunia in Lucio Silla, and They trac’d the desart ways. Tamiri in Il Re Pastore. She has sung with Glimmerglass Opera, Long Beach Opera, Tulsa “Frowning, frowning night, Opera, Opera Omaha, and New Jersey June Opera. She has appeared as a soloist with O’er this desart bright Seven nights they sleep orchestras nationwide, including those of San Francisco, St Louis, Baltimore, Atlanta, Let thy moon arise Among the shadows deep, Seattle, and Houston, as well as with the Saint Paul Chamber Orchestra and Choral Arts While I close my eyes.” And dream they see their child Society of Washington. Her 1998 Telarc recording of Barber’s Prayers of Kierkegaard and Starv’d in desart wild. Vaughan Williams’ Dona Nobis Pacem with the Atlanta Symphony and Robert Shaw won Sleeping Lyca lay Grammies in three different categories, including “Best Classical Album” and “Best Choral While the beasts of prey, Pale, thro’ pathless ways Album.” Carmen Pelton has also gained recognition singing contemporary music, starring Come from caverns deep, The fancied image strays in Frank Galati’s She Always Said, Pablo at the Goodman Theatre in Chicago and The Mother of Us All, which she View’d the maid asleep. Famish’d, weeping, weak, has sung in major revivals around the United States. She appears regularly with Da Camera of Houston, the With hollow piteous shriek. Twentieth Century Consort, and Sergio Luca’s chamber group Context. The kingly lion stood And the virgin view’d, Rising from unrest, Then he gamboll’d round The trembling woman prest O’er the hollow’d ground. With feet of weary woe: She could no further go.

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Peter “Madcat” Ruth Then come home, my children, the sun is gone down, In what distant deeps or skies And the dews of night arise; Burnt the fire of thine eyes? Peter “Madcat” Ruth’s music has been evolving for over forty years. It started in the Your spring & your day are wasted in play, On what wings dare he aspire? Chicago area in the early 1960s, with Madcat playing folk/blues on guitar and And your winter and night in disguise. What the hand dare sieze the fire? harmonica. By the late 1960s he had immersed himself in the Chicago Blues and was studying harmonica with Big Walter Horton. In the early 1970s Madcat moved to And what shoulder, & what art, Ann Arbor, where he was a key presence in two of Ann Arbor’s finest progressive 6 The Fly Could twist the sinews of thy heart? rock bands, New Heavenly Blue and Sky King. By the mid 1970s he was touring the And when thy heart began to beat, world with jazz pianist Dave Brubeck. In the 1980s he began performing solo, Little Fly, What dread hand? & what dread feet? infusing the folk/blues tradition with elements of rock and jazz. In 1990 he teamed up Thy summer’s play with the guitarist/singer Shari Kane to form the duo Madcat & Kane, since when they My thoughtless hand What the hammer? what the chain? have been touring nationally and internationally. In 1997, The Society for the Has brush’d away. In what furnace was thy brain? Preservation and Advancement of the Harmonica (SPAH) honoured Peter “Madcat” What the anvil? what dread grasp Ruth as the “Harmonica Player of the Year.” Am not I Dare its deadly terrors clasp? A fly like thee? Or art not thou When the stars threw down their spears, A man like me? And water’d heaven with their tears, Did he smile his work to see? Marietta Simpson For I dance, Did he who made the Lamb make thee? And drink, & sing, Mezzo-soprano Marietta Simpson has sung with the major orchestras in the United Till some blind hand Tyger! Tyger! burning bright States and under many of the world’s great conductors, including the late Robert Shaw, Shall brush my wing. In the forests of the night, Kurt Masur, Lorin Maazel, Simon Rattle, Helmuth Rilling, Charles Dutoit, Wolfgang What immortal hand or eye Sawallisch, Neeme Järvi, Neville Marriner, and Daniel Barenboim. She made her If thought is life, Dare frame thy fearful symmetry? Carnegie Hall début in 1988 as soloist in Brahms’ Alto Rhapsody with Robert Shaw and And strength & breath, the Atlanta Symphony, and her New York Philharmonic début in 1991. In 1992 she And the want made her first appearance at the Royal Opera House in Porgy and Bess. Marietta Of thought is death; 8 The Little Girl Lost Simpson has completed over ten recordings with the Atlanta Symphony and Shaw on the Telarc label, and she can also be heard on the EMI recording of Porgy and Bess, Then am I In futurity conducted by Rattle. In 1994, Philadelphia’s National Political Congress of Black A happy fly, I prophetic see Women presented her with its second Chisholm Award as an outstanding African- If I live That the earth from sleep American woman in music. She won the 1983 Minna Kaufman Ruud Award and was a or if I die. (Grave the sentence deep) finalist in the Metropolitan Opera Regional Auditions. In 1989, she was a prize winner in the Naumburg International Vocal Competition and was awarded First Prize in the Leontyne Price Vocal Arts Shall arise and seek Competition sponsored by National Association of Negro Business and Professional Women Clubs, Inc. 7 The Tyger For her maker meek; And in the desart wild Tyger! Tyger! burning bright, Become a garden mild. In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?

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CD 2 4 Earth’s Answer Thomas Young

Songs of Experience, Volume I Earth raised up her head The tenor Thomas Young has appeared as a principal soloist in the major concert halls Part I From the darkness dread & drear. and opera houses of some twenty countries under the batons of Zubin Mehta, Roger Her light fled, Norrington, Simon Rattle, and Esa-Pekka Salonen. He also serves as tenured professor of 1 Introduction Stony dread! music at Sarah Lawrence College. One of the foremost interpreters of tenor rôles in And her locks cover’d with grey despair. contemporary opera, he made his Lyric Opera of Chicago début in the world première of Anthony Davis’ Amistad in the rôle which was written for him, The Trickster God. Other 2 Hear the voice of the Bard “Prison’d on wat’ry shore, composers and directors with whom he has collaborated include George C. Wolfe, Peter Starry Jealousy does keep my den: Sellars, Mike Nichols, John Adams, and Tan Dun, whose works he has performed with Hear the voice of the Bard! Cold and hoar, the New York City Opera, Opera Theatre of St Louis, the San Francisco Opera, the Hong Who Present, Past, & Future sees; Weeping o’er, Kong Festival, and Opéra de Lyon. He has also performed rôles at Covent Garden, the Whose ears have heard I hear the father of the ancient men. festivals of Vienna and Salzburg, and extensively with the Netherlands Opera. His concert The Holy Word appearances include performances with the London, American, Japan, BBC Scotland, That walk’d among the ancient trees, “Selfish father of men! Baltimore, Seattle, and Denver Symphony Orchestras, as well as the Brooklyn Philharmonic and St Louis Cruel, jealous, selfish fear! Symphony. His recordings include X: The Life and Times of Malcom X (Gramavision), nominated for a Grammy in Calling the lapsed Soul, Can delight, 1993, John Adams’s The Death of Klinghoffer (Elektra), nominated for a Grammy in 1994, Tan Dun’s Marco Polo And weeping in the evening dew; Chain’d in night, (Sony), George Gershwin’s Blue Monday (Telarc), and Schoenberg’s Von Heute auf Morgen (DGG). That might controll The virgins of youth and morning bear? The starry pole, And fallen, fallen light renew! “Does spring hide its joy When buds and blossoms grow? Michigan State University Children’s Choir “O Earth, O Earth, return! Does the sower Arise from out the dewy grass; Sow by night, The Michigan State University Children’s Choir programme began in 1993 with the founding Night is worn, Or the plowman in darkness plow? of the Michigan State University Community Music School. The programme has a present And the morn membership of over 180 singers in four choirs representing 23 communities. In August 2002 Rises from the slumberous mass. “Break this heavy chain the MSU Children’s Choir performed at the Sixth World Symposium on Choral Music as the That does freeze my bones around. official representative of the United States, and it was a featured choir on the national NPR “Turn away no more; Selfish! vain! special broadcast produced by Peabody Award-winning host, Brian Newhouse. The MSU Why wilt thou turn away? Eternal bane! Children’s Choir gave performances at national, division, and state conventions of the The starry floor, That free Love with bondage bound.” American Choral Directors Association (ACDA). They have been guest artists with the Detroit The wat’ry shore, Symphony Orchestra (Neemi Järvi conducting), Greater Lansing, MSU, and Rochester Is giv’n thee till the break of day.” symphony orchestras, and have appeared in concert with the Canadian Brass, Peter Nero, Part II Marilyn Horne, and Marvin Hamlisch. Opera chorus engagements include Bizet’s Carmen and Mary Alice Stollak, Humperdinck’s Hansel and Gretel. The choir has recorded the CDs Songs of Sorrow, Songs of 3 Interlude 5 Nurse’s Song Music Director Hope, works with texts written by children caught in the Holocaust and the war in Bosnia; America the Beautiful: Songs of Our Heritage; and Rejoice!, traditional Christmas music. The When the voices of children are heard on the green choir’s tenth anniversary CD, Songs From the Heart, was released in December 2003. And whisp’rings are in the dale, The days of my youth rise fresh in my mind, My face turns green and pale.

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University of Michigan University Choir and Orpheus Singers “I am set to light the ground, Think not thou canst sigh a sigh While the beetle goes his round: And thy maker is not by; The University Choir, a 110-voice ensemble at the University of Michigan School of Music, is Follow now the beetle’s hum; Think not thou canst weep a tear comprised of music majors, most in vocal performance, music education, piano, composition, Little wanderer, hie thee home.” And thy maker is not near. and theory. The University of Michigan Orpheus Singers, the newest choir at the School of Music, is a 24-voice ensemble comprised of music education and vocal performance majors, O! he gives to us his joy and is directed by graduate choral conductors. A total of ten choral ensembles provide singing ( On Another’s Sorrow That our grief he may destroy; opportunities for students and community members throughout the University of Michigan and Till our grief is fled & gone the Ann Arbor area. Over 600 singers participate regularly in choral ensembles on the university Can I see another’s woe, He doth sit by us and moan. campus. Jerry Blackstone is the Director of Choral Activities at the University of Michigan And not be in sorrow too? School of Music. Can I see another’s grief, And not seek for kind relief? ) The Little Boy Lost

Jerry Blackstone Can I see a falling tear, “Father! father! where are you going? And not feel my sorrow’s share? O do not walk so fast. Can a father see his child Speak, father, speak to your little boy, Weep, nor be with sorrow fill’d? Or else I shall be lost.” University Musical Society Choral Union Can a mother sit and hear The night was dark, no father was there; Throughout its 125-year history, the UMS Choral Union has performed with many of the world’s distinguished An infant groan an infant fear? The child was wet with dew; orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice No, no! never can it be! The mire was deep, & the child did weep, Choral Union is known for its definitive performances of large-scale works for chorus and orcherstra. Participation Never, never can it be! And away the vapour flew. in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion – a love of the choral art. Eleven years ago, the Choral And can he who smiles on all Union further enriched its long tradition when it began appearing regularly with the Detroit Symphony Orchestra in Hear the wren with sorrows small, ¡ The Little Boy Found performances of Stravinsky’s Symphony of Psalms, John Adams’ Harmonium, Beethoven’s Symphony No. 9, Orff’s Hear the small bird’s grief & care, Carmina Burana, Ravel’s Daphnis et Chloé and Brahms’ Ein deutsches Requiem and has recorded Tchaikovsky’s Hear the woes that infants bear, The little boy lost in the lonely fen, The Snow Maiden with the orchestra for Chandos. Led by the wand’ring light, And not sit beside the nest, Began to cry; but God, ever nigh, Pouring pity in their breast; Appear’d like his father in white. And not sit the cradle near, Weeping tear on infant’s tear; He kissed the child & by the hand led University of Michigan Chamber Choir And to his mother brought, And not sit both night & day, Who in sorrow pale, thro’ the lonely dale, Members of the School of Music’s forty-voice University of Michigan Chamber Choir, conducted by Jerry Wiping all our tears away? Her little boy weeping sought. Blackstone, are graduate and undergraduate students majoring in vocal performance, conducting, or music O, no! never can it be! education. Recent appearances by the Chamber Choir have included performances at national and division Never, never can it be! conventions of the American Choral Directors Association and acclaimed performances of Handel’s Messiah with ™ Coda the Detroit Symphony Orchestra. He doth give his joy to all; He becomes an infant small; He becomes a man of woe; He doth feel the sorrow too.

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Part III And there the lion’s ruddy eyes University of Michigan University Symphony Orchestra Shall flow with tears of gold, ^ Nocturne And pitying the tender cries, The University of Michigan University Symphony Orchestra (USO) is considered one of the And walking round the fold, world’s finest student orchestras. Under the auspices of the School of Music, the USO serves as a Saying “Wrath, by his meekness, training ground for both young musicians, many of whom go on to play in major symphony & Night And by his health, sickness orchestras, and for students who come to the conducting programme, ranked number one in the Is driven away country. Recent projects include the first performance since 1940 of the one-act blues opera, De The sun descending in the west, From our immortal day. Organizer, by librettist Langston Hughes and composer James P. Johnson, reconstructed by James The evening star does shine; Dapogny, première recordings on Equilibrium label of works by William Bolcom, Leslie Bassett, The birds are silent in their nest, “And now beside thee, bleating lamb, and Michael Daugherty, and recordings of opera scenes by Amram, Ellstein, Schiff, and And I must seek for mine. I can lie down and sleep; Schoenfield with the University Chamber Choir and Orpheus Singers on the Naxos American The moon like a flower Or think on him who bore thy name, Jewish series. Kenneth Kiesler is the Director of Orchestras and Professor of Conducting at the In heaven’s high bower, Graze after thee and weep. University of Michigan School of Music. With silent delight For, wash’d in life’s river, Kenneth Kiesler Sits and smiles on the night. My bright mane for ever Shall shine like the gold Farewell, green fields and happy groves, As I guard o’er the fold.” Where flocks have took delight. Where lambs have nibbled, silent moves The feet of angels bright; * A Dream University of Michigan Contemporary Directions Ensemble Unseen they pour blessing And joy without ceasing, Once a dream did weave a shade The University of Michigan School of Music’s Contemporary Directions Ensemble (CDE), the On each bud and blossom, O’er my Angel-guarded bed, only one of the school’s performing groups to concentrate solely on new music, is comprised of And each sleeping bosom. That an Emmet lost its way graduate students and upperclassmen with an intense interest in this repertoire. The CDE, under Where on grass methought I lay. the musical direction of Jonathan Shames, works regularly with many important composers, They look in every thoughtless nest, including Stephen Hartke, Betsy Jolas, Karen Tanaka, Bright Sheng, William Bolcom, and Where birds are cover’d warm; Troubled, ‘wilder’d, and forlorn, Michael Daugherty, as well as students and faculty of the School of Music. They visit caves of every beast, Dark, benighted, travel-worn, To keep them all from harm. Over many a tangled spray, If they see any weeping All heart-broken I heard her say: That should have been sleeping, Jonathan Shames They pour sleep on their head, “O, my children! do they cry? And sit down by their bed. Do they hear their father sigh? Now they look abroad to see: When wolves and tygers howl for prey, Now return and weep for me.” They pitying stand and weep; Seeking to drive their thirst away, Pitying, I drop’d a tear; And keep them from the sheep; But I saw a glow-worm near, But if they rush dreadful, Who replied: “What wailing wight The angels, most heedful, Calls the watchman of the night? Receive each mild spirit, New worlds to inherit.

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University of Michigan Daniel McCarthy Recorder # Interlude % The Divine Image School of Music Kathleen Overfield Bobby Streng To Mercy, Pity, Peace, and Love University Symphony Orchestra Cello Oboe $ The Chimney Sweeper All pray in their distress; Andrew Barnhart, Principal Sarah Davis And to these virtues of delight Kenneth Kiesler, Will Dunlap Aaron Hill When my mother died I was very young, Return their thankfulness. Director of Orchestras Kareem Goode Jenny Sengpiel And my father sold me while yet my tongue Jonathan Shames, Associate Geein Hwang Jessica Warner Could scarcely cry “‘weep! ‘weep! ‘weep! ‘weep!” For Mercy, Pity, Peace, and Love Director of Orchestras Amy McGinn So your chimneys I sweep, & in soot I sleep. Is God, our father dear, Diane Strasser Clarinet And Mercy, Pity, Peace, and Love Violin Benjamin Vickers Jeremy Benhammou† There’s little Tom Dacre, who cried when his head, Is Man, his child and care. Julia Gish, Concertmaster Christopher Wild† Catherine Gatewood That curl’d like a lamb’s back, was shav’d: so I said Eric Wuest, Principal Jonathon Troy “Hush, Tom! never mind it, for when your head’s bare For Mercy has a human heart, Emma Banfield Double Bass Lyle Wong You know that the soot cannot spoil your white hair.” Pity a human face, Sarah Charness Jordan Scapinello, Principal And Love, the human form divine, Myriam Clermont Pearl Alexander Bassoon And so he was quiet, & that very night, And Peace, the human dress. Andrew d’Allemand B.K. Daniels Derek Bannasch As Tom was a-sleeping, he had such a sight! Michelle Davis Anna Jensen Sam Childers That thousands of sweepers, Dick, Joe, Ned, & Jack, Then every man, of every clime, Mili Fernandez Andrew Kratzat† Christopher Reid† Were all of them lock’d up in coffins of black. That prays in his distress, Annie Guénette Evan Premo Tristan Rennie Prays to the human form divine, Seo-Yeon Han Isaac Trapkus And by came an Angel who had a bright key, Love, Mercy, Pity, Peace. Andy Harvey Saxophone And he open’d the coffins & set them all free; Joseph Hintz Solo Fiddle Christopher Blossom Then down a green plain leaping, laughing, they run, And all must love the human form, Shawn Jaeger Jeremy Kittel Brian Sacawa And wash in a river, and shine in the Sun. In heathen, turk, or jew; Min Lee Where Mercy, Love, & Pity dwell Ashley Malloy Electric Violin Horn Then naked & white, all their bags left behind, There God is dwelling too. Bethany Mennemeyer† Julia Gish Brian Allen They rise upon clouds and sport in the wind; Diego Piedra Jennifer Walvoord Patrick Carlson† And the Angel told Tom, if he’d be a good boy, Jennifer Salmon Tasha O’Neal He’d have God for his father, & never want joy. Eric Shieh Guitar Tom Weber Stephanie Song Matthew Dievendorf William Wiegard† And so Tom awoke; and we rose in the dark, Trina Stoneham Ian Zook And got with our bags & our brushes to work, Tzu-Yin Su Mandolin Tho the morning was cold, Tom was happy & warm, Brittany Uschold Bradley Phillips Trumpet So if all do their duty they need not fear harm. Jennifer Walvoord† Adam Decker Sarah Whitney Electric Bass Kevin Gebo Austin Wulliman Robert Lester Timothy Krohn Alex Noppe Viola Flute Louis Reed Elvis Chan, Principal Jennifer Hooker† Jason Amos Melissa Klauder Levi Hyssong Kelly Sulick Megan Mason Marie Tachouet 8.559216-18 16 25 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 24

Wept for me, for thee, for all, ! Holy Thursday Trombone University Musical Society Margie Warrick When he was an infant small Arthur Haecker† Choral Union Mary Wigton Thou his image ever see, ‘T was on a Holy Thursday, their innocent faces clean, Eric Newsome† Linda Kaye Woodman Heavenly face that smiles on thee, The children walking two & two, in red & blue Steven Peterson Jerry Blackstone, Conductor and Kathleen Young & green, Music Director Smiles on thee, on me, on all; Grey-headed beadles walk’d before, with wands Bass Trombone Jason Harris, Assistant Conductor Altos Who became an infant small. as white as snow, Robert Graham Steven Lorenz, Assistant Conductor Anne Lampman Abbrecht Infant smiles are his own smiles; Till into the high dome of Paul’s they like Thames’ Nathan Platte Jean Schneider, Accompanist Paula Allison-England Heaven & earth to peace beguiles. waters flow. Kathleen Operhall, Chorus Manager Leslie Austin Euphonium Donald Bryant, Conductor Emeritus Carol Barnhart O what a multitude they seem’d, these flowers Evy Rodriguez Dody Blackstone 0 Nurse’s Song of London town! Sopranos Ellen Bryan Seated in companies they sit with radiance Tuba Mary Bowman Anne Casper When the voices of children are heard on the green all their own. Eric Bank Debra Joy Brabenec Laura Clausen And laughing is heard on the hill, The hum of multitudes was there, but multitudes Grant Harville Ann K. Burke Alison Cohen My heart is at rest within my breast of lambs, Susan F. Campbell Siri Gottlieb And everything else is still. Thousands of little boys & girls raising their Timpani and Percussion Young Cho Kat Hagedorn innocent hands. Jeffrey Barudin Cheryl D. Clarkson Allison Halerz “Then come home, my children, the sun is gone down Hayes Bunch Marie Ankenbruck Davis Nancy Heaton And the dews of night arise; Now like a mighty wind they raise to heaven Dan Fineberg Kathy Neufeld Dunn Jeanmarie Leverich Houle Come, come, leave off play, and let us away the voice of song, Daniel Karas Jennifer Freese Carol Kraemer Hohnke Till the morning appears in the skies.” Or like harmonious thunderings the seats of Renée Keller† Kathleen Gage Olga Johnson Heaven among. Olman Piedra Keiko Goto Maren E. Keyt “No, no, let us play, for it is yet day Beneath them sit the aged men, wise guardians Chuck Ricotta Loretta Lovalvo Eunice Kua And we cannot go to sleep; of the poor; Melissa Hope Marin Heidi Laura Besides, in the sky the little birds fly Then cherish pity, lest you drive an angel from your door. Harp Linda Selig Marshall Jessica Lehr And the hills are all cover’d with sheep.” Hannah Foster Marilyn Meeker Jan Leventer Nadia Pessoa Motoko Osawa Carolyn Gillespie Loh “Well, well, go & play till the light fades away @ The Blossom Young Park Cynthia Lunan And then go home to bed.” Keyboards Nancy K. Paul Karla K. Manson The little ones leaped & shouted & laugh’d Merry, Merry Sparrow! Julius Abrahams Ulrike Peters Patricia Kaiser McCloud And all the hills echoed. Under leaves so green Margaret Dearden Petersen Carol Milstein A happy Blossom Sara Peth Betty Montgomery Sees you swift as arrow † Performing member of the Marie Phillips Deidre Myers Seek your cradle narrow Contemporary Directions Ensemble Julie Pierce Kristen Neubauer Near my Bosom. (Jonathan Shames, Artistic Director) Mary A. Schieve Kathleen Operhall Jennifer Wagner Sobocinski Jennifer Rosenbaum Pretty, Pretty Robin! Elizabeth Starr Carren A. Sandell Under leaves so green Sue Ellen Straub Tricia Sartor A happy Blossom Barbara Trevethan Cindy Shindledecker Hears you sobbing, sobbing, Barbara Hertz Wallgren Rhonda Sizemore Pretty, Pretty Robin, Elizabeth Ward Beverly N. Slater Near my Bosom. Rachelle Barcus Warren Jari Smith 8.559216-18 24 17 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 18

Katherine Spindler Basses University of Michigan Part II Little Lamb, Ruth A. Theobald William Baxter Chamber Choir Here I am; Patricia J. Tompkins Kee Man Chang 7 Laughing Song Come and lick Barb Tritten Jeff Clevenger Jerry Blackstone, Conductor my white neck; Cheryl Utiger Roger Craig When the green woods laugh with the voice of joy, Let me pull Madeleine A. Vala John Dryden Sopranos And the dimpling stream runs laughing by; your soft Wool; Alice VanWambeke Don Faber Kara Alfano When the air does laugh with our merry wit, Let me kiss Katherine Verdery Gregory Fleming Minnita Daniel Cox And the green hill laughs with the noise of it. your soft face: Sandra Wiley David Hoffman Kelly Daniel Decker Merrily, Merrily, we welcome in the Year. Bonnie Wright George Lindquist Kaori Emery When the meadows laugh with lively green, Rod Little Sara Guttenberg* And the grasshopper laughs in the merry scene, Tenors Lawrence Lohr Abigail Haynes When Mary and Susan and Emily 9 A Cradle Song Adam D. Bonarek Steven Lorenz Jo Ellen Miller* With their sweet round mouths sing “Ha, Ha, He!” Jack Etsweiler Joseph D. McCadden Carole Ott Sweet dreams, form a shade Steven Fudge Gerald Miller Shaina Taelman When the painted birds laugh in the shade, O’er my lovely infant’s head; Albert Girod Michael Pratt Where our table with cherries and nuts is spread, Sweet dreams of pleasant streams Roy Glover Andrew Schulz Altos Come live & be merry, and join with me, By happy, silent, moony beams. Matthew P. Gray Rodney Smith Cindy Boote To sing the sweet chorus of “Ha, Ha, He!” Arthur Gulick Jeff Spindler Victoria DeCarlo Sweet sleep, with soft down Jason Harris Michael Steelman Suzanne Klock Weave thy brows an infant crown. J. Derek Jackson Robert D. Strozier Diana Lawrence 8 Spring Sweep sleep, Angel mild, Henry Johnson Steve Telian Rebecca Jo Loeb* Hover o’er my happy child. Bob Klaffke Terril O.Tompkins Suzanne Ma Sound the Flute! Mark A. Krempski Thomas L. Trevethan Andrea Moore Now it’s mute. Sweet smiles, in the night Richard Marsh James Wessel Walker Valerie Ogbonnaya Birds delight Hover over my delight; A.T. Miller Donald R. Williams Heather Yanke Day and Night; Sweet smiles, Mother’s smiles, Jason Sell Mike Zeddies Peiyi Wang Nightingale, All the livelong night beguiles. Carl Smith In the dale, Jim Van Bochove Tenors Lark in Sky, Sweet moans, dovelike sighs, Joshua Breitzer* Merrily, Chase not slumber from thy eyes. Nicholas Edwin Merrily, Merrily, to welcome in the Year. Sweet moans, sweeter smiles, Jason Harris All the dovelike moans beguiles. Brent Hegwood Little Boy, Grant Harville Full of joy; Sleep, sleep, happy child, Christopher Kiver Little Girl, All creation slept and smil’d; Jeremy Nabors Sweet and small; Sleep, sleep, happy sleep, Sean Panikkar* Cock does crow, While o’er thee thy mother weep. Korland Simmons So do you; Ian Trevethan Merry voice, Sweet babe, in thy face Gregory Wakefield Infant noise, Holy image I can trace. Merrily, Merrily, to welcome in the Year. Sweet babe, once like thee, Thy maker lay and wept for me,

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Little Lamb, I’ll tell thee, 6 The Little Black Boy Basses University of Michigan University of Michigan Little Lamb, I’ll tell thee, Keith Dixon Orpheus Singers University Choir He is called by thy name, My mother bore me in the southern wild, Bryan Estabrooks For he calls himself a Lamb. And I am black, but O! my soul is white; Jeff Landau Carole Ott, William Hammer, Christopher Kiver, Conductor He is meek, & he is mild; White as an angel is the English child, William Hammer Jason Harris, Conductors He became a little child. But I am black, as if bereav’d of light. Jeffrey Krause Sopranos I a child, & thou a lamb, Tobey Miller Sopranos Mutiyat Ade-Salu We are called by his name. My mother taught me underneath a tree, Joseph Roberts Rebecca Eaddy Laura Allen Little Lamb, God bless thee! And sitting down before the heat of day, Marco Santos Sara Emerson Olga Astapova Little Lamb, God bless thee! She took me on her lap and kissed me, Paul Tipton* Sara Guttenberg Katie Balaam And pointing to the east, began to say: David Wilson Carole Ott Kelly Ann Bixby Sara Packard Rebecca Blinder 4 The Shepherd “Look on the rising sun: there God does live, *Soloist in Holy Thursday and Rachel Simowitz Kristin Boggs And gives his light, and gives his heat away; Infant Sorrow Mary Bonhag How sweet is the Shepherd’s sweet lot! And flowers and trees and beasts and men receive Altos Monica Borger From the morn to the evening he strays; Comfort in morning, joy in the noonday. Megan Landry Lisa Briggs He shall follow his sheep all the day, Carolyn Senger Joy Burch And his tongue shall be filled with praise. “And we are put on earth a little space, Amy Weatherford Erin Clark That we may learn to bear the beams of love; Adrienne Webster Elizabeth Crabtree For he hears the lamb’s innocent call, And these black bodies and this sunburnt face Jennah Delp And he hears the ewe’s tender reply; Is but a cloud, and like a shady grove. Tenors Arielle Doneson He is watchful while they are in peace, Jason Harris Erin Ginger For they know when their Shepherd is nigh. “For when our souls have learn’d the heat to bear, Eiki Isomura Claudia Guinot The cloud will vanish; we shall hear his voice, Christopher Kiver Joanna Jakubas Saying: ‘Come out from the grove, my love & care, Adrian Leskiw Margaret Jensen 5 Infant Joy And round my golden tent like lambs rejoice.”’ Fred Peterbark Amanda Kingston Fernando Tarango Tanya Komblevitz “I have no name: Thus did my mother say, and kissed me; David Steely Emily Lau I am but two days old.” And thus I say to little English boy: Gavin Bidelman Gabrielle Mineo What shall I call thee? When I from black and he from white cloud free, Katie Montgomery “I happy am, And round the tent of God like lambs we joy, Basses Jessica Oberholtzer Joy is my name.” Stephen Bobalik Cathy O’Shaughnessy Sweet joy befall thee! I’ll shade him from the heat, till he can bear Mark Buckles Kathryn Rankin To lean in joy upon our father’s knee; William Hammer Lisa Roth Pretty joy! And then I’ll stand and stroke his silver hair, Chris Lees Courtney Rowley Sweet joy but two days old, And be like him, and he will then love me. Donald Milton Carrie Schimpke Sweet joy I call thee: Devin Provenzano Heather Schwartz Thou dost smile, I sing the while, Tobias Singer Alison Sisul Sweet joy befall thee! Maria Spear Katelin Spencer Molly Spooner Colleen Stano Rachel Steel 8.559216-18 22 19 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 20

Melissa Swain Karl Pestka Jackie Cook Songs of Innocence and of Experience The birds of the bush, Laura Wilcox Matthew Ray Noelle Cruce Poetry by William Blake (1757-1827) Sing lounder around Benjamin Robinson Stephanie Dale To the bells’ chearful sound, Altos Joshua Ethan Sánchez Chantel Dunham Audrey Bashore Victor Szabo Katie Endahl CD 1 While our sports shall be seen Margaret Cassetto Matt Travis Grace Hanson On the Ecchoing Green. Rebecca Choi Jeff Waraksa Allie Harte Songs of Innocence Rachel Common Lamar Willis Saylor Henney Part I Old John, with white hair, Kimberly Condron Jennifer Hogg Does laugh away care, Megan Cox Basses Abigail Johnson 1 Introduction Sitting under the oak, Fonyue Donn John Atorino Amy Johnson Among the old folk. Elizabeth Gentry Matthew Bogart Bo Ra Kim Piping down the valleys wild, They laugh at our play, Carolyn Goodman John Boonenberg Zachary Kribs Piping songs of pleasant glee, And soon they all say: Vanessa Gross Victor Broderick Heather Lantz On a cloud I saw a child, “Such, such were the joys Tessa Hartle Jason Brown Falina Lothamer And he laughing said to me: When we all, girls & boys, Lucy Head Michael Fauver Sara MacKimmie In our youth time were seen Amanda Heuermann Ben Henri Molly Magen “Pipe a song about a Lamb!” On the Ecchoing Green.” Soojin Kim Andrew Hill Kasey Mahoney So I piped with a merry chear. Grace Luo Thomas Holmes Laura Mason “Piper, pipe that song again.” Till the little ones, weary, Jessica Medoff Lucas Hoyt Rachel Mayer So I piped: he wept to hear. No more can be merry; Sarah Mehaffey L.E. Johnson Liz Meadows The sun does descend, Sandra Merritt Thomas Kean Mara Miller “Drop thy pipe, thy happy pipe; And our sports have an end. Sarah Meyer Evin Kridakorn Katherine Moore Sing thy songs of happy chear.” Round the laps of their mothers Lena Nietfeld Ben LaPrairie Katy Potocki So I sung the same again, Many sisters and brothers, Margaret Rood William Lea Rebecca Reisdorff While he wept with joy to hear. Like birds in their nest, Susan Ruggiero-Mezzadri Scott Lindroth Christina Rocha Are ready for rest, Kate Schwass Joseph Mathias Patricia Schultz “Piper, sit thee down and write And sports no more seen Sarah Showalter Gregory Nicolett Elizabeth Schultz Ashley Talsma Andy Papas Monica Sheets In a book, that all may read.” On the darkening Green. Caitlyn Thomson Travis Pratt Valerie Sly So he vanish’d from my sight, Gina Tirpak Brian Sander Amy Smith And I pluck’d a hollow reed, Marina Trejo Paul Scholten Katherine Snyder 3 The Lamb Jennifer Trombley David Schout Jesseca Taylor And I made a rural pen, Charis Vaughn Katherine Taylor And I stain’d the water clear, Little Lamb, who made thee? Sarah Wang Michigan State University Sarah VanAcker And I wrote my happy songs, Dost thou know who made thee? Ashley Beneta White Children’s Choir Lillian Werbin Every child may joy to hear. Gave thee life, & bid thee feed Hannah Williams By the stream & o’er the mead; Mary Alice Stollak, Music Director Gave thee clothing of delight, Tenors 2 The Ecchoing Green Softest clothing, wooly, bright; Michael Acton Amanda Bergman Gave thee such a tender voice, Nathan Evenson Claire Buitendorp The Sun does arise, Making all the vales rejoice? Michael Fabiano Shawn Buitendorp And make happy the skies; Little Lamb, who made thee? Michael Fowler Katrina Campos The merry bells ring Dost thou know who made thee? Luke Gyure Carolyn Carpenter To welcome the Spring; Robert Huebner Morgan Chavez The skylark and thrush, 8.559216-18 20 21 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 20

Melissa Swain Karl Pestka Jackie Cook Songs of Innocence and of Experience The birds of the bush, Laura Wilcox Matthew Ray Noelle Cruce Poetry by William Blake (1757-1827) Sing lounder around Benjamin Robinson Stephanie Dale To the bells’ chearful sound, Altos Joshua Ethan Sánchez Chantel Dunham Audrey Bashore Victor Szabo Katie Endahl CD 1 While our sports shall be seen Margaret Cassetto Matt Travis Grace Hanson On the Ecchoing Green. Rebecca Choi Jeff Waraksa Allie Harte Songs of Innocence Rachel Common Lamar Willis Saylor Henney Part I Old John, with white hair, Kimberly Condron Jennifer Hogg Does laugh away care, Megan Cox Basses Abigail Johnson 1 Introduction Sitting under the oak, Fonyue Donn John Atorino Amy Johnson Among the old folk. Elizabeth Gentry Matthew Bogart Bo Ra Kim Piping down the valleys wild, They laugh at our play, Carolyn Goodman John Boonenberg Zachary Kribs Piping songs of pleasant glee, And soon they all say: Vanessa Gross Victor Broderick Heather Lantz On a cloud I saw a child, “Such, such were the joys Tessa Hartle Jason Brown Falina Lothamer And he laughing said to me: When we all, girls & boys, Lucy Head Michael Fauver Sara MacKimmie In our youth time were seen Amanda Heuermann Ben Henri Molly Magen “Pipe a song about a Lamb!” On the Ecchoing Green.” Soojin Kim Andrew Hill Kasey Mahoney So I piped with a merry chear. Grace Luo Thomas Holmes Laura Mason “Piper, pipe that song again.” Till the little ones, weary, Jessica Medoff Lucas Hoyt Rachel Mayer So I piped: he wept to hear. No more can be merry; Sarah Mehaffey L.E. Johnson Liz Meadows The sun does descend, Sandra Merritt Thomas Kean Mara Miller “Drop thy pipe, thy happy pipe; And our sports have an end. Sarah Meyer Evin Kridakorn Katherine Moore Sing thy songs of happy chear.” Round the laps of their mothers Lena Nietfeld Ben LaPrairie Katy Potocki So I sung the same again, Many sisters and brothers, Margaret Rood William Lea Rebecca Reisdorff While he wept with joy to hear. Like birds in their nest, Susan Ruggiero-Mezzadri Scott Lindroth Christina Rocha Are ready for rest, Kate Schwass Joseph Mathias Patricia Schultz “Piper, sit thee down and write And sports no more seen Sarah Showalter Gregory Nicolett Elizabeth Schultz Ashley Talsma Andy Papas Monica Sheets In a book, that all may read.” On the darkening Green. Caitlyn Thomson Travis Pratt Valerie Sly So he vanish’d from my sight, Gina Tirpak Brian Sander Amy Smith And I pluck’d a hollow reed, Marina Trejo Paul Scholten Katherine Snyder 3 The Lamb Jennifer Trombley David Schout Jesseca Taylor And I made a rural pen, Charis Vaughn Katherine Taylor And I stain’d the water clear, Little Lamb, who made thee? Sarah Wang Michigan State University Sarah VanAcker And I wrote my happy songs, Dost thou know who made thee? Ashley Beneta White Children’s Choir Lillian Werbin Every child may joy to hear. Gave thee life, & bid thee feed Hannah Williams By the stream & o’er the mead; Mary Alice Stollak, Music Director Gave thee clothing of delight, Tenors 2 The Ecchoing Green Softest clothing, wooly, bright; Michael Acton Amanda Bergman Gave thee such a tender voice, Nathan Evenson Claire Buitendorp The Sun does arise, Making all the vales rejoice? Michael Fabiano Shawn Buitendorp And make happy the skies; Little Lamb, who made thee? Michael Fowler Katrina Campos The merry bells ring Dost thou know who made thee? Luke Gyure Carolyn Carpenter To welcome the Spring; Robert Huebner Morgan Chavez The skylark and thrush, 8.559216-18 20 21 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 22

Little Lamb, I’ll tell thee, 6 The Little Black Boy Basses University of Michigan University of Michigan Little Lamb, I’ll tell thee, Keith Dixon Orpheus Singers University Choir He is called by thy name, My mother bore me in the southern wild, Bryan Estabrooks For he calls himself a Lamb. And I am black, but O! my soul is white; Jeff Landau Carole Ott, William Hammer, Christopher Kiver, Conductor He is meek, & he is mild; White as an angel is the English child, William Hammer Jason Harris, Conductors He became a little child. But I am black, as if bereav’d of light. Jeffrey Krause Sopranos I a child, & thou a lamb, Tobey Miller Sopranos Mutiyat Ade-Salu We are called by his name. My mother taught me underneath a tree, Joseph Roberts Rebecca Eaddy Laura Allen Little Lamb, God bless thee! And sitting down before the heat of day, Marco Santos Sara Emerson Olga Astapova Little Lamb, God bless thee! She took me on her lap and kissed me, Paul Tipton* Sara Guttenberg Katie Balaam And pointing to the east, began to say: David Wilson Carole Ott Kelly Ann Bixby Sara Packard Rebecca Blinder 4 The Shepherd “Look on the rising sun: there God does live, *Soloist in Holy Thursday and Rachel Simowitz Kristin Boggs And gives his light, and gives his heat away; Infant Sorrow Mary Bonhag How sweet is the Shepherd’s sweet lot! And flowers and trees and beasts and men receive Altos Monica Borger From the morn to the evening he strays; Comfort in morning, joy in the noonday. Megan Landry Lisa Briggs He shall follow his sheep all the day, Carolyn Senger Joy Burch And his tongue shall be filled with praise. “And we are put on earth a little space, Amy Weatherford Erin Clark That we may learn to bear the beams of love; Adrienne Webster Elizabeth Crabtree For he hears the lamb’s innocent call, And these black bodies and this sunburnt face Jennah Delp And he hears the ewe’s tender reply; Is but a cloud, and like a shady grove. Tenors Arielle Doneson He is watchful while they are in peace, Jason Harris Erin Ginger For they know when their Shepherd is nigh. “For when our souls have learn’d the heat to bear, Eiki Isomura Claudia Guinot The cloud will vanish; we shall hear his voice, Christopher Kiver Joanna Jakubas Saying: ‘Come out from the grove, my love & care, Adrian Leskiw Margaret Jensen 5 Infant Joy And round my golden tent like lambs rejoice.”’ Fred Peterbark Amanda Kingston Fernando Tarango Tanya Komblevitz “I have no name: Thus did my mother say, and kissed me; David Steely Emily Lau I am but two days old.” And thus I say to little English boy: Gavin Bidelman Gabrielle Mineo What shall I call thee? When I from black and he from white cloud free, Katie Montgomery “I happy am, And round the tent of God like lambs we joy, Basses Jessica Oberholtzer Joy is my name.” Stephen Bobalik Cathy O’Shaughnessy Sweet joy befall thee! I’ll shade him from the heat, till he can bear Mark Buckles Kathryn Rankin To lean in joy upon our father’s knee; William Hammer Lisa Roth Pretty joy! And then I’ll stand and stroke his silver hair, Chris Lees Courtney Rowley Sweet joy but two days old, And be like him, and he will then love me. Donald Milton Carrie Schimpke Sweet joy I call thee: Devin Provenzano Heather Schwartz Thou dost smile, I sing the while, Tobias Singer Alison Sisul Sweet joy befall thee! Maria Spear Katelin Spencer Molly Spooner Colleen Stano Rachel Steel 8.559216-18 22 19 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 18

Katherine Spindler Basses University of Michigan Part II Little Lamb, Ruth A. Theobald William Baxter Chamber Choir Here I am; Patricia J. Tompkins Kee Man Chang 7 Laughing Song Come and lick Barb Tritten Jeff Clevenger Jerry Blackstone, Conductor my white neck; Cheryl Utiger Roger Craig When the green woods laugh with the voice of joy, Let me pull Madeleine A. Vala John Dryden Sopranos And the dimpling stream runs laughing by; your soft Wool; Alice VanWambeke Don Faber Kara Alfano When the air does laugh with our merry wit, Let me kiss Katherine Verdery Gregory Fleming Minnita Daniel Cox And the green hill laughs with the noise of it. your soft face: Sandra Wiley David Hoffman Kelly Daniel Decker Merrily, Merrily, we welcome in the Year. Bonnie Wright George Lindquist Kaori Emery When the meadows laugh with lively green, Rod Little Sara Guttenberg* And the grasshopper laughs in the merry scene, Tenors Lawrence Lohr Abigail Haynes When Mary and Susan and Emily 9 A Cradle Song Adam D. Bonarek Steven Lorenz Jo Ellen Miller* With their sweet round mouths sing “Ha, Ha, He!” Jack Etsweiler Joseph D. McCadden Carole Ott Sweet dreams, form a shade Steven Fudge Gerald Miller Shaina Taelman When the painted birds laugh in the shade, O’er my lovely infant’s head; Albert Girod Michael Pratt Where our table with cherries and nuts is spread, Sweet dreams of pleasant streams Roy Glover Andrew Schulz Altos Come live & be merry, and join with me, By happy, silent, moony beams. Matthew P. Gray Rodney Smith Cindy Boote To sing the sweet chorus of “Ha, Ha, He!” Arthur Gulick Jeff Spindler Victoria DeCarlo Sweet sleep, with soft down Jason Harris Michael Steelman Suzanne Klock Weave thy brows an infant crown. J. Derek Jackson Robert D. Strozier Diana Lawrence 8 Spring Sweep sleep, Angel mild, Henry Johnson Steve Telian Rebecca Jo Loeb* Hover o’er my happy child. Bob Klaffke Terril O.Tompkins Suzanne Ma Sound the Flute! Mark A. Krempski Thomas L. Trevethan Andrea Moore Now it’s mute. Sweet smiles, in the night Richard Marsh James Wessel Walker Valerie Ogbonnaya Birds delight Hover over my delight; A.T. Miller Donald R. Williams Heather Yanke Day and Night; Sweet smiles, Mother’s smiles, Jason Sell Mike Zeddies Peiyi Wang Nightingale, All the livelong night beguiles. Carl Smith In the dale, Jim Van Bochove Tenors Lark in Sky, Sweet moans, dovelike sighs, Joshua Breitzer* Merrily, Chase not slumber from thy eyes. Nicholas Edwin Merrily, Merrily, to welcome in the Year. Sweet moans, sweeter smiles, Jason Harris All the dovelike moans beguiles. Brent Hegwood Little Boy, Grant Harville Full of joy; Sleep, sleep, happy child, Christopher Kiver Little Girl, All creation slept and smil’d; Jeremy Nabors Sweet and small; Sleep, sleep, happy sleep, Sean Panikkar* Cock does crow, While o’er thee thy mother weep. Korland Simmons So do you; Ian Trevethan Merry voice, Sweet babe, in thy face Gregory Wakefield Infant noise, Holy image I can trace. Merrily, Merrily, to welcome in the Year. Sweet babe, once like thee, Thy maker lay and wept for me,

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Wept for me, for thee, for all, ! Holy Thursday Trombone University Musical Society Margie Warrick When he was an infant small Arthur Haecker† Choral Union Mary Wigton Thou his image ever see, ‘T was on a Holy Thursday, their innocent faces clean, Eric Newsome† Linda Kaye Woodman Heavenly face that smiles on thee, The children walking two & two, in red & blue Steven Peterson Jerry Blackstone, Conductor and Kathleen Young & green, Music Director Smiles on thee, on me, on all; Grey-headed beadles walk’d before, with wands Bass Trombone Jason Harris, Assistant Conductor Altos Who became an infant small. as white as snow, Robert Graham Steven Lorenz, Assistant Conductor Anne Lampman Abbrecht Infant smiles are his own smiles; Till into the high dome of Paul’s they like Thames’ Nathan Platte Jean Schneider, Accompanist Paula Allison-England Heaven & earth to peace beguiles. waters flow. Kathleen Operhall, Chorus Manager Leslie Austin Euphonium Donald Bryant, Conductor Emeritus Carol Barnhart O what a multitude they seem’d, these flowers Evy Rodriguez Dody Blackstone 0 Nurse’s Song of London town! Sopranos Ellen Bryan Seated in companies they sit with radiance Tuba Mary Bowman Anne Casper When the voices of children are heard on the green all their own. Eric Bank Debra Joy Brabenec Laura Clausen And laughing is heard on the hill, The hum of multitudes was there, but multitudes Grant Harville Ann K. Burke Alison Cohen My heart is at rest within my breast of lambs, Susan F. Campbell Siri Gottlieb And everything else is still. Thousands of little boys & girls raising their Timpani and Percussion Young Cho Kat Hagedorn innocent hands. Jeffrey Barudin Cheryl D. Clarkson Allison Halerz “Then come home, my children, the sun is gone down Hayes Bunch Marie Ankenbruck Davis Nancy Heaton And the dews of night arise; Now like a mighty wind they raise to heaven Dan Fineberg Kathy Neufeld Dunn Jeanmarie Leverich Houle Come, come, leave off play, and let us away the voice of song, Daniel Karas Jennifer Freese Carol Kraemer Hohnke Till the morning appears in the skies.” Or like harmonious thunderings the seats of Renée Keller† Kathleen Gage Olga Johnson Heaven among. Olman Piedra Keiko Goto Maren E. Keyt “No, no, let us play, for it is yet day Beneath them sit the aged men, wise guardians Chuck Ricotta Loretta Lovalvo Eunice Kua And we cannot go to sleep; of the poor; Melissa Hope Marin Heidi Laura Besides, in the sky the little birds fly Then cherish pity, lest you drive an angel from your door. Harp Linda Selig Marshall Jessica Lehr And the hills are all cover’d with sheep.” Hannah Foster Marilyn Meeker Jan Leventer Nadia Pessoa Motoko Osawa Carolyn Gillespie Loh “Well, well, go & play till the light fades away @ The Blossom Young Park Cynthia Lunan And then go home to bed.” Keyboards Nancy K. Paul Karla K. Manson The little ones leaped & shouted & laugh’d Merry, Merry Sparrow! Julius Abrahams Ulrike Peters Patricia Kaiser McCloud And all the hills echoed. Under leaves so green Margaret Dearden Petersen Carol Milstein A happy Blossom Sara Peth Betty Montgomery Sees you swift as arrow † Performing member of the Marie Phillips Deidre Myers Seek your cradle narrow Contemporary Directions Ensemble Julie Pierce Kristen Neubauer Near my Bosom. (Jonathan Shames, Artistic Director) Mary A. Schieve Kathleen Operhall Jennifer Wagner Sobocinski Jennifer Rosenbaum Pretty, Pretty Robin! Elizabeth Starr Carren A. Sandell Under leaves so green Sue Ellen Straub Tricia Sartor A happy Blossom Barbara Trevethan Cindy Shindledecker Hears you sobbing, sobbing, Barbara Hertz Wallgren Rhonda Sizemore Pretty, Pretty Robin, Elizabeth Ward Beverly N. Slater Near my Bosom. Rachelle Barcus Warren Jari Smith 8.559216-18 24 17 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 16

University of Michigan Daniel McCarthy Recorder # Interlude % The Divine Image School of Music Kathleen Overfield Bobby Streng To Mercy, Pity, Peace, and Love University Symphony Orchestra Cello Oboe $ The Chimney Sweeper All pray in their distress; Andrew Barnhart, Principal Sarah Davis And to these virtues of delight Kenneth Kiesler, Will Dunlap Aaron Hill When my mother died I was very young, Return their thankfulness. Director of Orchestras Kareem Goode Jenny Sengpiel And my father sold me while yet my tongue Jonathan Shames, Associate Geein Hwang Jessica Warner Could scarcely cry “‘weep! ‘weep! ‘weep! ‘weep!” For Mercy, Pity, Peace, and Love Director of Orchestras Amy McGinn So your chimneys I sweep, & in soot I sleep. Is God, our father dear, Diane Strasser Clarinet And Mercy, Pity, Peace, and Love Violin Benjamin Vickers Jeremy Benhammou† There’s little Tom Dacre, who cried when his head, Is Man, his child and care. Julia Gish, Concertmaster Christopher Wild† Catherine Gatewood That curl’d like a lamb’s back, was shav’d: so I said Eric Wuest, Principal Jonathon Troy “Hush, Tom! never mind it, for when your head’s bare For Mercy has a human heart, Emma Banfield Double Bass Lyle Wong You know that the soot cannot spoil your white hair.” Pity a human face, Sarah Charness Jordan Scapinello, Principal And Love, the human form divine, Myriam Clermont Pearl Alexander Bassoon And so he was quiet, & that very night, And Peace, the human dress. Andrew d’Allemand B.K. Daniels Derek Bannasch As Tom was a-sleeping, he had such a sight! Michelle Davis Anna Jensen Sam Childers That thousands of sweepers, Dick, Joe, Ned, & Jack, Then every man, of every clime, Mili Fernandez Andrew Kratzat† Christopher Reid† Were all of them lock’d up in coffins of black. That prays in his distress, Annie Guénette Evan Premo Tristan Rennie Prays to the human form divine, Seo-Yeon Han Isaac Trapkus And by came an Angel who had a bright key, Love, Mercy, Pity, Peace. Andy Harvey Saxophone And he open’d the coffins & set them all free; Joseph Hintz Solo Fiddle Christopher Blossom Then down a green plain leaping, laughing, they run, And all must love the human form, Shawn Jaeger Jeremy Kittel Brian Sacawa And wash in a river, and shine in the Sun. In heathen, turk, or jew; Min Lee Where Mercy, Love, & Pity dwell Ashley Malloy Electric Violin Horn Then naked & white, all their bags left behind, There God is dwelling too. Bethany Mennemeyer† Julia Gish Brian Allen They rise upon clouds and sport in the wind; Diego Piedra Jennifer Walvoord Patrick Carlson† And the Angel told Tom, if he’d be a good boy, Jennifer Salmon Tasha O’Neal He’d have God for his father, & never want joy. Eric Shieh Guitar Tom Weber Stephanie Song Matthew Dievendorf William Wiegard† And so Tom awoke; and we rose in the dark, Trina Stoneham Ian Zook And got with our bags & our brushes to work, Tzu-Yin Su Mandolin Tho the morning was cold, Tom was happy & warm, Brittany Uschold Bradley Phillips Trumpet So if all do their duty they need not fear harm. Jennifer Walvoord† Adam Decker Sarah Whitney Electric Bass Kevin Gebo Austin Wulliman Robert Lester Timothy Krohn Alex Noppe Viola Flute Louis Reed Elvis Chan, Principal Jennifer Hooker† Jason Amos Melissa Klauder Levi Hyssong Kelly Sulick Megan Mason Marie Tachouet 8.559216-18 16 25 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 26

Part III And there the lion’s ruddy eyes University of Michigan University Symphony Orchestra Shall flow with tears of gold, ^ Nocturne And pitying the tender cries, The University of Michigan University Symphony Orchestra (USO) is considered one of the And walking round the fold, world’s finest student orchestras. Under the auspices of the School of Music, the USO serves as a Saying “Wrath, by his meekness, training ground for both young musicians, many of whom go on to play in major symphony & Night And by his health, sickness orchestras, and for students who come to the conducting programme, ranked number one in the Is driven away country. Recent projects include the first performance since 1940 of the one-act blues opera, De The sun descending in the west, From our immortal day. Organizer, by librettist Langston Hughes and composer James P. Johnson, reconstructed by James The evening star does shine; Dapogny, première recordings on Equilibrium label of works by William Bolcom, Leslie Bassett, The birds are silent in their nest, “And now beside thee, bleating lamb, and Michael Daugherty, and recordings of opera scenes by Amram, Ellstein, Schiff, and And I must seek for mine. I can lie down and sleep; Schoenfield with the University Chamber Choir and Orpheus Singers on the Naxos American The moon like a flower Or think on him who bore thy name, Jewish series. Kenneth Kiesler is the Director of Orchestras and Professor of Conducting at the In heaven’s high bower, Graze after thee and weep. University of Michigan School of Music. With silent delight For, wash’d in life’s river, Kenneth Kiesler Sits and smiles on the night. My bright mane for ever Shall shine like the gold Farewell, green fields and happy groves, As I guard o’er the fold.” Where flocks have took delight. Where lambs have nibbled, silent moves The feet of angels bright; * A Dream University of Michigan Contemporary Directions Ensemble Unseen they pour blessing And joy without ceasing, Once a dream did weave a shade The University of Michigan School of Music’s Contemporary Directions Ensemble (CDE), the On each bud and blossom, O’er my Angel-guarded bed, only one of the school’s performing groups to concentrate solely on new music, is comprised of And each sleeping bosom. That an Emmet lost its way graduate students and upperclassmen with an intense interest in this repertoire. The CDE, under Where on grass methought I lay. the musical direction of Jonathan Shames, works regularly with many important composers, They look in every thoughtless nest, including Stephen Hartke, Betsy Jolas, Karen Tanaka, Bright Sheng, William Bolcom, and Where birds are cover’d warm; Troubled, ‘wilder’d, and forlorn, Michael Daugherty, as well as students and faculty of the School of Music. They visit caves of every beast, Dark, benighted, travel-worn, To keep them all from harm. Over many a tangled spray, If they see any weeping All heart-broken I heard her say: That should have been sleeping, Jonathan Shames They pour sleep on their head, “O, my children! do they cry? And sit down by their bed. Do they hear their father sigh? Now they look abroad to see: When wolves and tygers howl for prey, Now return and weep for me.” They pitying stand and weep; Seeking to drive their thirst away, Pitying, I drop’d a tear; And keep them from the sheep; But I saw a glow-worm near, But if they rush dreadful, Who replied: “What wailing wight The angels, most heedful, Calls the watchman of the night? Receive each mild spirit, New worlds to inherit.

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University of Michigan University Choir and Orpheus Singers “I am set to light the ground, Think not thou canst sigh a sigh While the beetle goes his round: And thy maker is not by; The University Choir, a 110-voice ensemble at the University of Michigan School of Music, is Follow now the beetle’s hum; Think not thou canst weep a tear comprised of music majors, most in vocal performance, music education, piano, composition, Little wanderer, hie thee home.” And thy maker is not near. and theory. The University of Michigan Orpheus Singers, the newest choir at the School of Music, is a 24-voice ensemble comprised of music education and vocal performance majors, O! he gives to us his joy and is directed by graduate choral conductors. A total of ten choral ensembles provide singing ( On Another’s Sorrow That our grief he may destroy; opportunities for students and community members throughout the University of Michigan and Till our grief is fled & gone the Ann Arbor area. Over 600 singers participate regularly in choral ensembles on the university Can I see another’s woe, He doth sit by us and moan. campus. Jerry Blackstone is the Director of Choral Activities at the University of Michigan And not be in sorrow too? School of Music. Can I see another’s grief, And not seek for kind relief? ) The Little Boy Lost

Jerry Blackstone Can I see a falling tear, “Father! father! where are you going? And not feel my sorrow’s share? O do not walk so fast. Can a father see his child Speak, father, speak to your little boy, Weep, nor be with sorrow fill’d? Or else I shall be lost.” University Musical Society Choral Union Can a mother sit and hear The night was dark, no father was there; Throughout its 125-year history, the UMS Choral Union has performed with many of the world’s distinguished An infant groan an infant fear? The child was wet with dew; orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice No, no! never can it be! The mire was deep, & the child did weep, Choral Union is known for its definitive performances of large-scale works for chorus and orcherstra. Participation Never, never can it be! And away the vapour flew. in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion – a love of the choral art. Eleven years ago, the Choral And can he who smiles on all Union further enriched its long tradition when it began appearing regularly with the Detroit Symphony Orchestra in Hear the wren with sorrows small, ¡ The Little Boy Found performances of Stravinsky’s Symphony of Psalms, John Adams’ Harmonium, Beethoven’s Symphony No. 9, Orff’s Hear the small bird’s grief & care, Carmina Burana, Ravel’s Daphnis et Chloé and Brahms’ Ein deutsches Requiem and has recorded Tchaikovsky’s Hear the woes that infants bear, The little boy lost in the lonely fen, The Snow Maiden with the orchestra for Chandos. Led by the wand’ring light, And not sit beside the nest, Began to cry; but God, ever nigh, Pouring pity in their breast; Appear’d like his father in white. And not sit the cradle near, Weeping tear on infant’s tear; He kissed the child & by the hand led University of Michigan Chamber Choir And to his mother brought, And not sit both night & day, Who in sorrow pale, thro’ the lonely dale, Members of the School of Music’s forty-voice University of Michigan Chamber Choir, conducted by Jerry Wiping all our tears away? Her little boy weeping sought. Blackstone, are graduate and undergraduate students majoring in vocal performance, conducting, or music O, no! never can it be! education. Recent appearances by the Chamber Choir have included performances at national and division Never, never can it be! conventions of the American Choral Directors Association and acclaimed performances of Handel’s Messiah with ™ Coda the Detroit Symphony Orchestra. He doth give his joy to all; He becomes an infant small; He becomes a man of woe; He doth feel the sorrow too.

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CD 2 4 Earth’s Answer Thomas Young

Songs of Experience, Volume I Earth raised up her head The tenor Thomas Young has appeared as a principal soloist in the major concert halls Part I From the darkness dread & drear. and opera houses of some twenty countries under the batons of Zubin Mehta, Roger Her light fled, Norrington, Simon Rattle, and Esa-Pekka Salonen. He also serves as tenured professor of 1 Introduction Stony dread! music at Sarah Lawrence College. One of the foremost interpreters of tenor rôles in And her locks cover’d with grey despair. contemporary opera, he made his Lyric Opera of Chicago début in the world première of Anthony Davis’ Amistad in the rôle which was written for him, The Trickster God. Other 2 Hear the voice of the Bard “Prison’d on wat’ry shore, composers and directors with whom he has collaborated include George C. Wolfe, Peter Starry Jealousy does keep my den: Sellars, Mike Nichols, John Adams, and Tan Dun, whose works he has performed with Hear the voice of the Bard! Cold and hoar, the New York City Opera, Opera Theatre of St Louis, the San Francisco Opera, the Hong Who Present, Past, & Future sees; Weeping o’er, Kong Festival, and Opéra de Lyon. He has also performed rôles at Covent Garden, the Whose ears have heard I hear the father of the ancient men. festivals of Vienna and Salzburg, and extensively with the Netherlands Opera. His concert The Holy Word appearances include performances with the London, American, Japan, BBC Scotland, That walk’d among the ancient trees, “Selfish father of men! Baltimore, Seattle, and Denver Symphony Orchestras, as well as the Brooklyn Philharmonic and St Louis Cruel, jealous, selfish fear! Symphony. His recordings include X: The Life and Times of Malcom X (Gramavision), nominated for a Grammy in Calling the lapsed Soul, Can delight, 1993, John Adams’s The Death of Klinghoffer (Elektra), nominated for a Grammy in 1994, Tan Dun’s Marco Polo And weeping in the evening dew; Chain’d in night, (Sony), George Gershwin’s Blue Monday (Telarc), and Schoenberg’s Von Heute auf Morgen (DGG). That might controll The virgins of youth and morning bear? The starry pole, And fallen, fallen light renew! “Does spring hide its joy When buds and blossoms grow? Michigan State University Children’s Choir “O Earth, O Earth, return! Does the sower Arise from out the dewy grass; Sow by night, The Michigan State University Children’s Choir programme began in 1993 with the founding Night is worn, Or the plowman in darkness plow? of the Michigan State University Community Music School. The programme has a present And the morn membership of over 180 singers in four choirs representing 23 communities. In August 2002 Rises from the slumberous mass. “Break this heavy chain the MSU Children’s Choir performed at the Sixth World Symposium on Choral Music as the That does freeze my bones around. official representative of the United States, and it was a featured choir on the national NPR “Turn away no more; Selfish! vain! special broadcast produced by Peabody Award-winning host, Brian Newhouse. The MSU Why wilt thou turn away? Eternal bane! Children’s Choir gave performances at national, division, and state conventions of the The starry floor, That free Love with bondage bound.” American Choral Directors Association (ACDA). They have been guest artists with the Detroit The wat’ry shore, Symphony Orchestra (Neemi Järvi conducting), Greater Lansing, MSU, and Rochester Is giv’n thee till the break of day.” symphony orchestras, and have appeared in concert with the Canadian Brass, Peter Nero, Part II Marilyn Horne, and Marvin Hamlisch. Opera chorus engagements include Bizet’s Carmen and Mary Alice Stollak, Humperdinck’s Hansel and Gretel. The choir has recorded the CDs Songs of Sorrow, Songs of 3 Interlude 5 Nurse’s Song Music Director Hope, works with texts written by children caught in the Holocaust and the war in Bosnia; America the Beautiful: Songs of Our Heritage; and Rejoice!, traditional Christmas music. The When the voices of children are heard on the green choir’s tenth anniversary CD, Songs From the Heart, was released in December 2003. And whisp’rings are in the dale, The days of my youth rise fresh in my mind, My face turns green and pale.

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Peter “Madcat” Ruth Then come home, my children, the sun is gone down, In what distant deeps or skies And the dews of night arise; Burnt the fire of thine eyes? Peter “Madcat” Ruth’s music has been evolving for over forty years. It started in the Your spring & your day are wasted in play, On what wings dare he aspire? Chicago area in the early 1960s, with Madcat playing folk/blues on guitar and And your winter and night in disguise. What the hand dare sieze the fire? harmonica. By the late 1960s he had immersed himself in the Chicago Blues and was studying harmonica with Big Walter Horton. In the early 1970s Madcat moved to And what shoulder, & what art, Ann Arbor, where he was a key presence in two of Ann Arbor’s finest progressive 6 The Fly Could twist the sinews of thy heart? rock bands, New Heavenly Blue and Sky King. By the mid 1970s he was touring the And when thy heart began to beat, world with jazz pianist Dave Brubeck. In the 1980s he began performing solo, Little Fly, What dread hand? & what dread feet? infusing the folk/blues tradition with elements of rock and jazz. In 1990 he teamed up Thy summer’s play with the guitarist/singer Shari Kane to form the duo Madcat & Kane, since when they My thoughtless hand What the hammer? what the chain? have been touring nationally and internationally. In 1997, The Society for the Has brush’d away. In what furnace was thy brain? Preservation and Advancement of the Harmonica (SPAH) honoured Peter “Madcat” What the anvil? what dread grasp Ruth as the “Harmonica Player of the Year.” Am not I Dare its deadly terrors clasp? A fly like thee? Or art not thou When the stars threw down their spears, A man like me? And water’d heaven with their tears, Did he smile his work to see? Marietta Simpson For I dance, Did he who made the Lamb make thee? And drink, & sing, Mezzo-soprano Marietta Simpson has sung with the major orchestras in the United Till some blind hand Tyger! Tyger! burning bright States and under many of the world’s great conductors, including the late Robert Shaw, Shall brush my wing. In the forests of the night, Kurt Masur, Lorin Maazel, Simon Rattle, Helmuth Rilling, Charles Dutoit, Wolfgang What immortal hand or eye Sawallisch, Neeme Järvi, Neville Marriner, and Daniel Barenboim. She made her If thought is life, Dare frame thy fearful symmetry? Carnegie Hall début in 1988 as soloist in Brahms’ Alto Rhapsody with Robert Shaw and And strength & breath, the Atlanta Symphony, and her New York Philharmonic début in 1991. In 1992 she And the want made her first appearance at the Royal Opera House in Porgy and Bess. Marietta Of thought is death; 8 The Little Girl Lost Simpson has completed over ten recordings with the Atlanta Symphony and Shaw on the Telarc label, and she can also be heard on the EMI recording of Porgy and Bess, Then am I In futurity conducted by Rattle. In 1994, Philadelphia’s National Political Congress of Black A happy fly, I prophetic see Women presented her with its second Chisholm Award as an outstanding African- If I live That the earth from sleep American woman in music. She won the 1983 Minna Kaufman Ruud Award and was a or if I die. (Grave the sentence deep) finalist in the Metropolitan Opera Regional Auditions. In 1989, she was a prize winner in the Naumburg International Vocal Competition and was awarded First Prize in the Leontyne Price Vocal Arts Shall arise and seek Competition sponsored by National Association of Negro Business and Professional Women Clubs, Inc. 7 The Tyger For her maker meek; And in the desart wild Tyger! Tyger! burning bright, Become a garden mild. In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?

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9 In the Southern Clime Leopards, tygers, play Joan Morris Round her as she lay, In the southern clime, While the lion old The mezzo-soprano Joan Morris attended Gonzaga University in Spokane prior to her studies Where the summer’s prime Bow’d his mane of gold. at the American Academy of Dramatic Arts in New York. While continuing speech and voice Never fades away, studies, she appeared in Off-Broadway and road productions, at the Café Carlyle, the Lovely Lyca lay. And her bosom lick, Waldorf-Astoria’s Peacock Alley, and other Manhattan nightspots. Since 1973 she has And upon her neck appeared in concerts with her husband, William Bolcom, performing American popular Seven summers old From his eyes of flame songs from the late nineteenth and early twentieth centuries, the latest songs by Leiber and Lovely Lyca told; Ruby tears there came; Stoller, and cabaret songs by Bolcom and Weinstein. They perform extensively throughout She had wander’d long the United States, Canada, and abroad, and have recorded two dozen albums, the first of Hearing wild birds’ song. While the lioness which garnered a Grammy nomination for Morris for “Best Vocal Soloist Performance on a Loos’d her slender dress, Classical Album.” She has performed William Bolcom’s Songs of Innocence and of “Sweet sleep, come to me And naked they convey’d Experience at its world première in Stuttgart and its U.S. première in Ann Arbor in 1984, at Underneath this tree. To caves the sleeping maid. Grant Park in 1986, with the Brooklyn Philharmonic in 1987, at the U.K. première with the BBC Symphony Do father, mother weep, Orchestra in 1996, and with the Pacific Symphony Orchestra in 2003. She has also appeared in various productions Where can Lyca sleep? with the Guthrie Theater and the American Musical Theater Festival, and as soloist with the St Louis and Seattle 0 The Little Girl Found Symphony Orchestras. Since 1981 she has taught a cabaret class at the University of Michigan School of Music. “Lost in desart wild Is your little child. All the night in woe How can Lyca sleep Lyca’s parents go If her mother weep? Over vallies deep, While the desarts weep. Carmen Pelton “If her heart does ake Then let Lyca wake; Tired and woe-begone, The soprano Carmen Pelton came to international attention when she made her début as If my mother sleep, Hoarse with making moan, Fiordiligi in Così fan tutte with the Aldeburgh Festival. She has since performed many of Lyca shall not weep. Arm in arm seven days Mozart’s heroines, including Donna Anna in Don Giovanni, Giunia in Lucio Silla, and They trac’d the desart ways. Tamiri in Il Re Pastore. She has sung with Glimmerglass Opera, Long Beach Opera, Tulsa “Frowning, frowning night, Opera, Opera Omaha, and New Jersey June Opera. She has appeared as a soloist with O’er this desart bright Seven nights they sleep orchestras nationwide, including those of San Francisco, St Louis, Baltimore, Atlanta, Let thy moon arise Among the shadows deep, Seattle, and Houston, as well as with the Saint Paul Chamber Orchestra and Choral Arts While I close my eyes.” And dream they see their child Society of Washington. Her 1998 Telarc recording of Barber’s Prayers of Kierkegaard and Starv’d in desart wild. Vaughan Williams’ Dona Nobis Pacem with the Atlanta Symphony and Robert Shaw won Sleeping Lyca lay Grammies in three different categories, including “Best Classical Album” and “Best Choral While the beasts of prey, Pale, thro’ pathless ways Album.” Carmen Pelton has also gained recognition singing contemporary music, starring Come from caverns deep, The fancied image strays in Frank Galati’s She Always Said, Pablo at the Goodman Theatre in Chicago and The Mother of Us All, which she View’d the maid asleep. Famish’d, weeping, weak, has sung in major revivals around the United States. She appears regularly with Da Camera of Houston, the With hollow piteous shriek. Twentieth Century Consort, and Sergio Luca’s chamber group Context. The kingly lion stood And the virgin view’d, Rising from unrest, Then he gamboll’d round The trembling woman prest O’er the hollow’d ground. With feet of weary woe: She could no further go.

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Nathan Lee Graham In his arms he bore Part III Her, arm’d with sorrow sore; Actor and singer Nathan Lee Graham’s eclectic career includes such feature films as Sweet Till before their way ! The Clod and the Pebble Home Alabama and Zoolander, the internationally renowned television show Absolutely A couching lion lay. Fabulous, the Broadway production of the Tony and Grammy nominated musical The Wild “Love seeketh not Itself to please, Party, the first national touring company of Jesus Christ Superstar, as well as countless Turning back was vain: Nor for itself hath any care, commercial and new theatre projects. He previously performed Songs of Innocence and of Soon his heavy mane But for another gives its ease, Experience with the Pacific Symphony Orchestra under the direction of Carl St Clair. He has a Bore them to the ground. And builds a Heaven in Hell’s despair.” BFA in musical theatre from Webster University Conservatory. Then he stalk’d around, So sung a little Clod of Clay Smelling to his prey; Trodden with the cattle’s feet, But their fears allay But a Pebble of the brook When he licks their hands, Warbled out these metres meet: Linda Hohenfeld And silent by them stands. “Love seeketh only Self to please, Linda Hohenfeld has appeared in opera, musical theatre, symphonic concerts, solo recitals, and They look upon his eyes To bind another to Its delight, chamber music performances. She has sung with the Cleveland, Minnesota, Philadelphia, Fill’d with deep surprise, Joys in another’s loss of ease, National, Saint Louis, San Francisco, Vienna, Pittsburgh, and BBC Symphonies, the New York And wondering behold And builds a Hell in Heaven’s despite.” Philharmonic, the Philharmonia in London, the Orchestre National de France in Paris, the A spirit arm’d in gold. Berlin Radio Symphony, and Norddeutscher Rundfunk Sinfonieorchester in Hamburg. She has performed at summer music festivals including Aspen, Cabrillo, Marlboro, Copenhagen’s On his head a crown, @ The Little Vagabond Tivoli Festival, Frankfurt Feste in Germany, and the Blossom Festival with the Cleveland On his shoulders down Orchestra. Her discography includes Vaughan Williams’s Symphonies Nos. 1, 3 and 7, a Flow’d his golden hair. Dear Mother, dear Mother, the Church is cold, recording of Leonard Bernstein’s Songfest and Barber’s Knoxville: Summer of 1915. She is co- Gone was all their care. But the Ale-house is healthy & pleasant & warm; artistic director of the “Women in Music” concert series at the National Museum of Women in the Arts. Besides I can tell where I am used well, “Follow me,” he said; Such usage in Heaven will never do well. Tommy Morgan “Weep not for the maid; In my palace deep But if at the Church they would give us some Ale, Tommy Morgan is the most unique harmonica player in the recording industry today, and Lyca lies asleep.” And a pleasant fire our souls to regale, made his first recording in 1950 in Hollywood with the Andrews Sisters for Decca Records. We’d sing and we’d pray all the live-long day, Longtime “first call” in the studio recording industry, he has recorded for motion pictures, Then they followed Nor ever once wish from the Church to stray. television, records, and commercials. With reruns throughout the world of the long running Where the vision led, television series Green Acres, Sanford and Son, The Waltons, The Rockford Files, The And saw their sleeping child Then the Parson might preach, & drink, & sing, Dukes of Hazzard, The Newhart Show and China Beach, performances on hit records Good Among the tygers wild. And we’d be as happy as birds in the spring; Vibrations (The Beach Boys), Rainy Days and Mondays (The Carpenters), He Ain’t Heavy, And modest Dame Lurch, who is always at Church, He’s My Brother (The Hollys) and others, and a solo appearance on The Academy Awards To this day they dwell Would not have bandy children, nor fasting, nor birch. 2000 television broadcast (estimated audience one billion), his harmonica playing has been In a lonely dell; heard by more people than any other player in history. As a performer, he has given four command performances Nor fear the wolvish howl And God, like a father rejoicing to see and has appeared in concert in over thirty countries. He holds a Master of Arts Degree in Music (Composition) from Nor the lion’s growl. His children as pleasant and happy as he, the University of California at Los Angeles. He has composed background music for episodes of The Twilight Zone, Would have no more quarrel with the Devil or the Barrel, Have Gun, Will Travel, Gunsmoke, and for the Will Rogers, USA television special. He has been arranger for Johnny But kiss him, & give him both drink and apparel. Cash, Glenn Yarbrough, and Rod McKuen.

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# Holy Thursday And into my garden stole Measha Brueggergosman When the night had veil’d the pole: Is this a holy thing to see In the morning glad I see The critically acclaimed soprano Measha Brueggergosman was awarded the Grand Prize at the In a rich and fruitful land, My foe outstretch’d beneath the tree. 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner in Babes reduc’d to misery, other renowned competitions including the Wigmore Hall in London, George London Fed with cold and usurous hand? Foundation in New York, and Robert-Schumann in Germany. In a busy international career she % The Angel has appeared throughout North America and Europe, including a Royal Command Performance Is that trembling cry a song? for Queen Elizabeth II. She also appeared as Liù in Turandot in a return engagement with Can it be song of joy? I dreamt a Dream! what can it mean! Cincinnati Opera. She has been honoured to sing for the Prince of Wales and for Nelson And so many children poor? And that I was a maiden Queen, Mandela. Recent operatic engagements have brought appearances in Turandot, Elektra and Dead It is a land of poverty! Guarded by an Angel mild: Man Walking with Cincinnati Opera, and, in the concert hall, a recital début at Roy Thomson Witless woe was ne’er beguil’d! Hall, and the Verdi Requiem with Helmuth Rilling at the International Beethoven Festival Bonn. And their sun does never shine, And their fields are bleak & bare, And I wept both night and day, Ilana Davidson And their ways are fill’d with thorns: And he wip’d my tears away, It is eternal winter there. And I wept both day and night, The soprano Ilana Davidson made her début at Lincoln Center with Leon Botstein and the And hid from him my heart’s delight. American Symphony Orchestra in Orff’s Trionfo di Afrodite. She made her Carnegie Hall For where-e’er the sun does shine, début as soloist with Leonard Slatkin and the St Louis Symphony in William Bolcom’s And were-e’er the rain does fall, So he took his wings and fled; Songs of Innocence and of Experience. She is a graduate of the Curtis Institute of Music and Babe can never hunger there, Then the morn blush’d rosy red; Carnegie Mellon University. Ilana Davidson has sung major rôles with opera companies Nor poverty the mind appall. I dried my tears, & arm’d my fears including the Stuttgart Opera, Vlaamse Opera, Nationale Reisopera, Florida Grand Opera, With ten thousand shields and spears. Glimmerglass Opera, and the Opera Company of Philadelphia. She has also performed extensively in oratorio and in a wide-ranging concert repertoire. She made her début in $ A Poison Tree Soon my Angel came again: Amsterdam’s Concertgebouw singing Mozart arias, and frequently performs contemporary I was arm’d, he came in vain; works, giving first performances of compositions by Bolcom, Ligeti, Rorem, Kurtág, I was angry with my friend: For the time of youth was fled, Krenek, and Weill. I told my wrath, my wrath did end. And grey hairs were on my head. I was angry with my foe: I told it not, my wrath did grow. Nmon Ford ^ The Sick Rose And I water’d it in fears, The Panamanian-American baritone Nmon Ford has performed throughout the Americas, Night & morning with my tears; O Rose, thou art sick! Europe, and Japan. He has appeared with the operas of San Francisco, Los Angeles, Utah, And I sunned it with smiles, The invisible worm Portland, Memphis, Syracuse, Virginia, Kansas City, Madison, San Jose, and Spoleto Festival And with soft deceitful wiles. That flies in the night, U.S.A. in rôles including Don Giovanni, Escamillo (Carmen), Figaro (Il barbiere di Siviglia), In the howling storm, Marcello (La bohème), Valentin (Faust), Arsamene (Xerxes) Aeneas (Dido and Aeneas), And it grew both day and night, Enrico (Lucia di Lammermoor), Sharpless (Madama Butterfly), Riccardo (I puritani), and Till it bore an apple bright; Has found out thy bed Mahmoud (The Death of Klinghoffer). He made his New York recital début with the Marilyn And my foe beheld it shine, Of crimson joy, Horne Foundation’s “On Wings of Song” Series at the Kosciuszko Foundation. He has And he knew that it was mine, And his dark secret love recorded Villa Lobos’ Symphony No. 10 “Amerindia” and The Sweetest Brilliance — Songs of Does thy life destroy. Bolcom and Weinstein.

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Leonard Slatkin & To Tirzah 2 My Pretty Rose Tree

Internationally recognised as one of today’s leading conductors, Leonard Slatkin is Music Whate’er is Born of Mortal Birth A flower was offer’d to me, Director of the National Symphony Orchestra and Chief Conductor of the BBC Symphony Must be consumed with the Earth Such a flower as May never bore; Orchestra in London. After a distinguished tenure as Music Director of the Saint Louis To rise from Generation free: But I said “I’ve a Pretty Rose-tree,” Symphony from 1979 until 1996, he was named Conductor Laureate. His more than a Then what have I to do with thee? And I passed the sweet flower o’er. hundred recordings have been recognised with four Grammy awards and more than fifty Grammy nominations. His discography includes a number of recordings devoted to the The Sexes sprung from Shame & Pride, Then I went to my Pretty Rose-tree, works of American composers, such as Corigliano, Schwantner, Barber, Piston, Ives, Blow’d in the morn, in evening died; To tend her by day and by night; Schuman, Copland, and Bernstein. Since his débuts with the Chicago Symphony and the But Mercy chang’d Death into Sleep; But my Rose turn’d away with jealousy, New York Philharmonic in the early 1970s, Leonard Slatkin has been a frequent guest The Sexes rose to work & weep. And her thorns were my only delight. conductor of the world’s major symphony orchestras, including those of London, Paris, Berlin, New York, Philadelphia, Chicago, Cleveland, Boston, Tokyo, and Tel Aviv. His Thou, Mother of my Mortal part, international festival responsibilities have included the Festival of American Music at With cruelty didst mould my Heart, 3 Ah! Sun-Flower London’s South Bank Centre, for which he served as Artistic Director. In June 1999 he led And with false self-deceiving tears an American Festival in Amsterdam with the Royal Concertgebouw Orchestra and the Didst bind my Nostrils, Eyes, & Ears: Ah, Sun-flower! weary of time, Lincoln Center Jazz Orchestra. His operatic conducting includes performances with the Metropolitan Opera, the Lyric Who countest the steps of the Sun, Opera of Chicago, the Vienna State Opera, the Hamburg Opera, the Stuttgart Opera, the Washington Opera, and Didst close my Tongue in senseless clay, Seeking after that sweet golden clime France’s L’Orange Festival and Opera National de Paris. He is the recipient of the 2003 National Medal of Arts (the And me to Mortal Life betray. Where the traveller’s journey is done: highest award given to artists by the United States Government), ASCAP awards with both the National Symphony The Death of Jesus set me free: and the Saint Louis Symphony for “adventuresome programming of contemporary music,” an honorary doctorate from Then what have I to do with thee? Where the Youth pined away with desire the Juilliard School, and the prestigious Declaration of Honour in Silver from the Austrian ambassador to the United And the pale Virgin shrouded in snow States for outstanding contributions to cultural relations. In 1993 he received the Laurel Leaf Award from the Arise from their graves, and aspire American Composers Alliance and was named an honorary member of the Royal Academy of Music. For his work in CD 3 Where my Sun-flower wishes to go. the community, he was honoured with the 1998 Community Service Award from the Anti-Defamation League, and he has been awarded the George Peabody Medal for Outstanding Contributions to Music in America. Songs of Experience, Volume II Part IV 4 The Lilly Christine Brewer 1 The Voice of the Ancient Bard The modest Rose puts forth a thorn, In concert, the American soprano Christine Brewer has appeared under the batons of Kurt The humble Sheep a threat’ning horn; Masur, Robert Shaw, Pierre Boulez, Michael Tilson Thomas, Christoph von Dohnányi, Simon Youth of delight, come hither, While the Lilly white shall in Love delight, Rattle, Neville Marriner, Leonard Slatkin, and Charles Dutoit. She regularly performs with the And see the opening morn, Nor a thorn, nor a threat, stain her beauty bright. world’s leading orchestras, including the Chicago, Boston, and San Francisco Symphonies; the Image of truth new born. Cleveland, Philadelphia, New York, and Los Angeles Philharmonic Orchestras; the London Doubt is fled, & clouds of reason, and National Symphony Orchestras; the Orchestre de Paris, the Orchestra of the Age of Dark disputes & artful teazing. Enlightenment, and the Academy of St Martin-in-the-Fields. The 2002-3 season marked her Folly is an endless maze, Metropolitan Opera début in the title rôle of Ariadne auf Naxos. She has performed her Tangled roots perplex her ways. signature role of Donna Anna in Don Giovanni to critical acclaim at Covent Garden, New York How many have fallen there! City Opera, Florida Grand Opera, Opera Theatre of Saint Louis, and the Edinburgh Festival. They stumble all night over bones of the dead, She has also performed with the Opéra de Lyon, the Paris Châtelet, the Santa Fe Opera, English National Opera, and And feel they know not what but care, Opera Colorado. In addition to many recital appearances at London’s Wigmore Hall, she has also graced Lincoln And wish to lead others, when they should be led. Center’s “Art of the Song” series at Alice Tully Hall and performed in St Louis, Portland (Oregon), and Oklahoma City. Her recordings include a contribution to Hyperion’s prestigious Schubert series. 8.559216-18 8 33 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 34

Part V And standing on the altar high, William Bolcom “Lo! what a fiend is here!” said he, 5 Introduction to Part V “One who sets reason up for judge At age 11, Seattle-born composer Of our most holy Mystery.” and pianist William Bolcom entered the University of Washington as a 6 The Garden of Love The weeping child could not be heard, private student of George Frederick The weeping parents wept in vain; McKay and John Verrall; he also I went to the Garden of Love, They strip’d him to his little shirt, studied piano with Madame Berthe And saw what I never had seen: And bound him in an iron chain; Poncy Jacobson, already main- A Chapel was built in the midst, taining an active solo piano recital Where I used to play on the green. And burn’d him in a holy place, career. While working on his Where many had been burn’d before: Master of Arts degree, he studied And the gates of this Chapel were shut, The weeping parents wept in vain. with Darius Milhaud at Mills And “Thou shalt not” writ over the door; Are such things done on Albion’s shore? College and later at the Paris So I turn’d to the Garden of Love Conservatoire where he received That so many sweet flowers bore; the 2ème Prix de Composition. 8 A Little Girl Lost During this time he wrote stage And I saw it was filled with graves, scores for West German companies And tomb-stones where flowers should be; Children of the future Age and later at Stanford University, for And Priests in black gowns were walking their rounds, Reading this indignant page, regional theaters, and at Lincoln And binding with briars my joys & desires. Know that in a former time Center/New York. He earned his Love! sweet Love! was thought a crime. doctorate at Stanford University. Bolcom has taught at the Photograph courtesy of 7 A Little Boy Lost In the Age of Gold, University of Michigan since 1973, Peter Smith/University Musical Society Free from winter’s cold, where he is the Ross Lee Finney “Nought loves another as itself, Youth and maiden bright Distinguished Professor of Music in Composition; has undertaken commissions from organizations and individuals Nor venerates another so, To the holy light, worldwide; and has received numerous honors and awards, including the 1988 Pulitzer Prize for Music for his 12 Nor is it possible to Thought Naked in the sunny beams delight. New Etudes for Piano. He holds honorary doctorates from Albion (Michigan) College, New England Conservatory A greater than itself to know: of Music, San Francisco Conservatory, and the New School University/New York. In 2003 he received the Once a youthful pair, Distinguished Alumnus Award from the University of Washington. “And Father, how can I love you Fill’d with softest care, Bolcom’s compositions, widely performed and recorded, include seven symphonies (written for the National Or any of my brothers more? Met in garden bright Symphony, The MET Orchestra, The Philadelphia Orchestra, Saint Louis Symphony, and the Saint Paul Chamber I love you like the little bird Where the holy light Orchestra), chamber music (for Yo-Yo Ma, the Beaux Arts Trio, Nadja Salerno-Sonnenberg, and others), concertos That picks up crumbs around the door.” Had just remov’d the curtains of night. (for James Galway, Gary Graffman, Leon Fleisher, Sergiu Luca, Stanley Drucker, and others), three “cabaret operas” for actor-singers, and an extensive catalog of keyboard, vocal (for Benita Valente, Marilyn Horne, and The Priest sat by and heard the child, There, in rising day, others), and choral music. The Graceful Ghost Rag, written in memory of his father, has been recorded about 20 In trembling zeal he siez’d his hair: On the grass they play; times by pianists and other instrumentalists. Lyric Opera of Chicago has commissioned him to write four operas, of He led him by his little coat, Parents were afar, which three are completed: McTeague (1992), A View from the Bridge (1999), and A Wedding, which premières in And all admir’d the Priestly care. Strangers came not near, 2004. All libretti are by Arnold Weinstein, Bolcom’s collaborator of over 40 years. And the maiden soon forgot her fear. Since 1973 Bolcom has accompanied his wife, mezzo-soprano Joan Morris, in performances both onstage and on two dozen recordings of American popular song. For Morris, Bolcom and Weinstein wrote Cabaret Songs, which have become standard in many singers’ repertoires.

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To me, William Blake is the most urgent of poets. to where we are now. If there is any solution to our Tired with kisses sweet, In every cry of every Man, What he says is as immediate as ever, but particularly to unending crisis, it is only through acceptance and They agree to meet In every Infant’s cry of fear, us: he came from an epoch of social change as total as understanding of our own nature, and if I have caused a When the silent sleep In every voice, in every ban, ours. With clear and unjudging vision Blake saw where more careful listening to Blake’s message, then my work Waves o’er heaven’s deep, The mind-forg’d manacles I hear. the human race was heading; it could be argued that the over a span of 25 years will not have been in vain. And the weary tired wanderers weep. Songs of Innocence and of Experience may be the most How the Chimney-sweepers cry lucid explanation we have of what forces have brought us William Bolcom, 1984 To her father white Every black’ning Church appalls; Came the maiden bright; And the hapless Soldier’s sigh Recollections on the Twentieth Anniversary of Songs of Innocence and of Experience But his loving look, Runs in blood down Palace walls. Like the holy book, After the April 1984 United States première of this work in inertia has occurred is a subject best explored elsewhere, but All her tender limbs with terror shook. But most thro’ midnight streets I hear Ann Arbor’s Hill Auditorium – the world’s first it would seem likely that any organization as codified, as How the youthful Harlot’s curse performances had taken place 8th and 9th January of that rigidly delineated as today’s orchestra is in danger of “Ona! pale and weak! Blasts the new born Infant’s tear, year with the Stuttgart Opera Orchestra under Dennis disappearing.) The University of Michigan School of Music To thy father speak: And blights with plagues the Marriage hearse. Russell Davies – there have been twelve performances of provided a possible escape from this unevolved orchestra. A O, the trembling fear! Songs of Innocence and of Experience: at Grant Park in rough demographic analysis of the student population taken O, the dismal care! Chicago with Gustav Meier, who did the first Ann Arbor in the aggregate yields a potential orchestra including That shakes the blossoms of my hoary hair.” @ The School-Boy performance; with the Brooklyn Philharmonic under Lukas saxophones, expanded percussion and brass, and electric Foss; with the Saint Louis Symphony, both there and in instruments; all these are represented onstage along with the I love to rise in a summer morn New York, and the BBC Symphony in London, also under varied musical styles these instruments and their players 9 Infant Sorrow When the birds sing on every tree; Leonard Slatkin; and with the Pacific Symphony in Costa bring to our new orchestra. The distant huntsman winds his horn, Mesa in Southern California under former Ann Arborite More important, even though Stuttgart has had the My mother groan’d! my father wept. And the sky-lark sings with me. Carl St Clair. A piece of its sheer size cannot hope to be world première, Songs of Innocence and of Experience had Into the dangerous world I leapt: O! what sweet company. played too often, and I am still amazed, twenty years later, been primarily meant to be a work involving our whole Helpless, naked, piping loud: that it has been heard all these times, sixteen performances School of Music. (A school of our size could fall too easily Like a fiend hid in a cloud. But to go to school in a summer morn, in all. into watertight departmental thinking on the part of both O! it drives all joy away; I was once afraid it would never be heard or even faculty and students; what a shame not to get to know and Struggling in my father’s hands, Under a cruel eye outworn, finished. Although parts of Songs date from almost fifty collaborate with other kinds of musicians, or actors, or Striving against my swadling bands, The little ones spend the day years ago, I certainly did not (and economically could not) dancers, in one’s learning years!) In the chorus of a St Bound and weary I thought best In sighing and dismay. work on it steadily; Songs is one of those works one does Matthew Passion performance when a student in Seattle, I To sulk upon my mother’s breast. without commission. Finding time and relative peace to experienced a deep feeling of oneness with the whole Ah! then at times I drooping sit, compose it in the sheer all-day effort to survive freelance in community of musicians onstage that permeated my soul; And spend many an anxious hour, New York had proved impossible. When we moved to Ann we were singers and instrumentalists, each from different 0 Vocalise Nor in my book can I take delight, Arbor, finally I was able to put the piece together; of course disciplines, brought spiritually together by Bach’s music. I Nor sit in learning’s bower, I did not realise that my wife Joan Morris and I would still vowed some day to write something that could afford such Worn thro’ with the dreary shower. be here thirty-something years later. an experience to students after me, that would permit a true Part VI You will notice many instruments unusual to the bringing of many kinds of performers together; the hope is How can the bird that is born for joy orchestra. I love writing for the “modern” symphony that the greater understanding of ourselves that Blake leads ! London Sit in a cage and sing? orchestra, but often I am confronted with the sad fact that its us toward in this cycle will thus be experienced here How can a child, when fears annoy, disposition, the term for its total instrumentation, has hardly communally, on and off stage. The knowledge these poems I wander thro’ each charter’d street, But droop his tender wing, evolved since World War I. (Up until then the orchestra gives us is often frightening, but it makes us free and in the Near where the charter’d Thames does flow, And forget his youthful spring? admitted instrument after instrument when players in each end gives us joy. And mark in every face I meet attained a certain level of proficiency; why the subsequent William Bolcom, 2004 Marks of weakness, marks of woe. 8.559216-18 6 35 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 36

O! father & mother, if buds are nip’d He sits down with holy fears, William Bolcom (b. 1938) And blossoms blown away, And waters the grounds with tears; And if the tender plants are strip’d Then Humility takes its root Songs of Innocence and of Experience: A Musical Illumination of the Poems of William Blake Of their joy in the springing day, Underneath his foot. Ever since I was seventeen, when the reading of William spiritual climate and progressing ever further in Shewing By sorrow and care’s dismay, Blake was to make a profound difference to my life, I have the Two Contrary States of the Human Soul. With slight Soon spreads the dismal shade wanted to set the entire Songs of Innocence and of changes I have used Blake’s last ordering in my piece. I How shall the summer arise in joy, Of Mystery over his head; Experience to music. Several songs were actually had always wanted to end the evening with The Divine Or the summer fruits appear? And the Catterpiller and Fly completed in 1956; The Sick Rose, and the opening, Image, which Blake had engraved and then rejected for Or how shall we gather what griefs destroy, Feed on the Mystery. revised, of the Songs of Innocence, are survivors of that the Experience cycle, and I revised the order of the last Or bless the mellowing year, time, and the work remained in my mind until 1973, when part to accommodate the poem. When the blasts of winter appear? And it bears the fruit of Deceit, I moved to Ann Arbor to teach at the University of The Blakean principle of contraries — “Without Ruddy and sweet to eat; Michigan. I felt that I could thus simplify my life enough Contraries is no progression. Attraction and Repulsion, And the Raven his nest has made to be able to realise the cycle I had dreamed of for so long. Reason and Energy, Love and Hate, are necessary to # The Chimney Sweeper In its thickest shade. Most of the work was completed in the years 1973-74 Human existence.” (The Marriage of Heaven and Hell) — and 1979-82; the opening of the Songs of Experience was would also dominate my approach to the work, A little black thing among the snow, The Gods of the earth and sea fully sketched in 1966 and several of the major songs date particularly in matters of style. Current Blake research has Crying “‘weep! ‘weep!” in notes of woe! Sought thro’ Nature to find this Tree; from the early and middle 1970s. The largest problem was tended to confirm what I had assumed from the first, that “Where are thy father & mother? say?” But their search was all in vain: the form the entire setting would take. It could not be a at every point Blake used his whole culture, past and “They are both gone up to the church to pray. There grows one in the Human Brain. standard opera, and the stopping and starting that present, highflown and vernacular, as sources for his many constantly bedevils the oratorio form would prove fatal for poetic styles. Throughout the entire Songs of Innocence “Because I was happy upon the heath, 46 poems over an evening. and of Experience, exercises in elegant Drydenesque And smil’d among the winter’s snow, % Interlude: Voces Clamandae The final ordering of the Songs left by Blake, as will diction are placed cheek by jowl with ballads that could They clothed me in the clothes of death, be seen, is quite different from the one I had become used have come from one of the “songsters” of his day (small, And taught me to sing the notes of woe. to in my earliest reading. In the 1880s William Muir, an popular books or pamphlets of words set to well-known ^ A Divine Image artist greatly involved with the revival of interest in tunes, in the manner of John Gay’s 1728 Beggar’s Opera). “And because I am happy & dance & sing, Blake’s engravings and paintings, actually printed some of It is as if many people from all walks of life were They think they have done me no injury, Cruelty has a Human Heart, the poet’s works from the original copper plates. He then speaking, each in a different way. The apparent And are gone to praise God & his Priest & King, And Jealousy a Human Face; (as Blake with his wife Catherine had done) hand- disharmony of each clash and juxtaposition eventually Who make up a heaven of our misery.” Terror the Human Form Divine, coloured them, although, to my mind, not as interestingly produces a deeper and more universal harmony, once the And Secrecy the Human Dress. or vividly as had Blake himself. In Muir’s edition of The whole cycle is absorbed. All I did was to use the same Marriage of Heaven and Hell (1888) I found by chance in stylistic point of departure as Blake in my musical $ The Human Abstract The Human Dress is forged Iron, the appendix an ordering of the Songs of Innocence and of settings. The Human Form a fiery Forge, Experience (reproduced in what looks very much like If any one work of mine has been the chief source and Pity would be no more The Human Face a Furnace seal’d, Blake’s own hand); Blake had presumably left this for his progenitor of the others, I would have to say that this is it. If we did not make somebody Poor; The Human Heart is hungry Gorge. wife should anyone have wanted a further printing of the My fascination with the synthesis of the most unlikely And Mercy no more could be Songs, which had been one of the few of his engraved stylistic elements dates from my knowledge and If all were as happy as we. works that had had any sale. (Evidently no one asked application of Blake’s principle of contraries, and I have Catherine Blake for a copy.) spent most of my artistic life in pursuit of this higher And mutual fear brings peace, This ordering, new to me, gave me what I needed in synthesis. In this work, through my settings, I have tried Till the selfish loves increase: trying to find an overall shape to the work: a series of my best to make everything clear; I have used music in the Then Cruelty knits a snare, arches, in both subject and emotion, that marked the piece same way Blake used line and colour, in order to And spreads his baits with care. off into nine clear movements, each inhabiting a certain illuminate the poems.

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Part III CD 3 42:42 8 A Little Girl Lost 4:44 Songs of Experience, Volume II Nmon Ford ! The Clod and the Pebble 1:47 Part IV Christine Brewer Thomas Young 1 The Voice of the Ancient 9 Infant Sorrow 2:23 @ The Little Vagabond 2:31 Bard 2:29 U-M Chamber Choir Soloists Joan Morris Nmon Ford 0 Vocalise 2:57 # Holy Thursday 2:44 2 My Pretty Rose Tree 1:43 Combined Choruses Carmen Pelton Chorus Men

$ A Poison Tree 2:09 3 Ah! Sun-Flower 2:30 Part VI Nathan Lee Graham U-M Chamber Choir ! London 3:54 % The Angel 3:15 4 The Lilly 1:36 Nathan Lee Graham Ilana Davidson Thomas Young Combined Choruses @ The School-Boy 3:23 ^ The Sick Rose 3:14 Linda Hohenfeld Marietta Simpson Part V # The Chimney Sweeper 1:20 & To Tirzah 3:32 5 Introduction to Part V 0:49 U-M Chamber Choir Nathan Lee Graham Orchestra Combined Choruses $ The Human Abstract 3:22 6 The Garden of Love 2:04 Nmon Ford Above: Soprano Christine Thomas Young Brewer in the dramatic “Earth's % Interlude: Voces Clamandae 1:32 Answer,” Songs of Experience. 7 A Little Boy Lost 2:27 Orchestra Carmen Pelton Combined Choruses ^ A Divine Image 5:29 Top right: Contralto Marietta Nathan Lee Graham, Soloists, Simpson in “Infant Joy,” Songs and Combined Choruses of Innocence.

Right: Baritone Nmon Ford opens Songs of Experience with “Hear the Voice of the Bard.”

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Songs of Innocence ! Holy Thursday CD 2 43:00 and of Experience U-M Chamber Choir Soloists 1:08 Songs of Experience, Volume I Combined Choruses Part I CD 1 51:29 Songs of Innocence @ The Blossom 0:41 1 Introduction 2:20 Part I Measha Brueggergosman Orchestra

1 Introduction 3:08 # Interlude 0:25 2 Hear the Voice of the Bard 2:55 Thomas Young Orchestra Nmon Ford

2 The Ecchoing Green 2:32 $ The Chimney Sweeper 3:14 3 Interlude 0:51 Combined Choruses Nathan Lee Graham Orchestra U-M Chamber Choir 3 The Lamb 3:20 4 Earth’s Answer 4:54 Measha Brueggergosman % The Divine Image 3:50 Christine Brewer Joan Morris 4 The Shepherd 2:14 Peter “Madcat” Ruth Part II Part III 5 Infant Joy 1:58 5 Nurse’s Song 1:10 Marietta Simpson ^ Nocturne 2:03 Joan Morris MSU Children’s Choir Orchestra Above: Actor and singer 6 The Fly 1:43 6 The Little Black Boy 4:07 & Night 5:01 MSU Children’s Choir Nathan Lee Graham Nathan Lee Graham Thomas Young speaks the part of “The 7 The Tyger 1:50 Chimney Sweeper” in * A Dream 1:41 Combined Choruses Songs of Innocence. Part II Ilana Davidson 8 The Little Girl Lost 1:10 7 Laughing Song 0:33 ( On Another’s Sorrow 1:53 Nmon Ford Right: Tommy Morgan on U-M Chamber Choir Combined Choruses harmonica in Songs of 9 In the Southern Clime 2:08 8 Spring 1:45 ) The Little Boy Lost 2:48 U-M Chamber Choir Innocence . Thomas Young Carmen Pelton Combined Choruses Combined Choruses 0 The Little Girl Found 4:47 Combined Choruses 9 A Cradle Song 4:04 ¡ The Little Boy Found 1:56 Linda Hohenfeld Nathan Lee Graham

0 Nurse’s Song 1:36 ™ Coda 1:32 Joan Morris Orchestra

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Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan

University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin

Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.

Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.

“Songs of Innocence and of Experience” by William Bolcom is copyright g 1985 by Edward B. Marks Music Company. BMI.

Live Concert Production Producers: Michael Kondziolka and Bradley Bloom Concert Sound Engineer: Roger Amett Production Support: Jasper Gilbert (Director), Emily Avers, Claire Rice, Sue Hamilton, Jeffrey Beyersdorf, David Aderente, Robert Grijalva, Mark Jacobson Concert Sponsorship: Maxine and Stuart Frankel Foundation and Linda and Maurice Binkow The Regents of the University of Michigan University Musical Society Board of Directors Above: Ilana Davidson sings “The Angel” from Songs of Experience. Top right: Measha Brueggergosman performs “The Lamb” Live Concert produced by The University of Michigan School of Music, Karen Wolff, Dean, and the University in Songs of Innocence. Musical Society, Kenneth Fischer, President, on April 8th 2004 at Hill Auditorium, Ann Arbor, Michigan. Bottom right: Joan Morris sings “The Little Vagabond” with Tommy Morgan and Peter “Madcat” Ruth on harmonicas. 8.559216-18 2 39 8.559216-18 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40

AMERICAN CLASSICS WILLIAM BOLCOM

Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake)

Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 rear Bolcom US 16/08/2004 09:13am Page 1

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Playing WILLIAM BOLCOM AXOS Time: (b. 1938) 2:17:11 Songs of Innocence and of Experience

h broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and Shewing the Two Contrary States of the Human Soul & BOLCOM: Songs of Innocence and Experience g (William Blake) 8.559216-18 AMERICAN CLASSICS 2004 Naxos Rights International Ltd. • Made in Canada CD 1 1-6 Songs of Innocence: Part One 17:18 William Blake’s Songs of 7-% Songs of Innocence: Part Two 17:16 ^-™ Songs of Innocence: Part Three 16:55 Innocence and of Experience CD 2 date from the turbulent period 1-4 Songs of Experience, Volume One: Part One 11:00 5-0 Songs of Experience, Volume One: Part Two 12:47 in English and American !-& Songs of Experience, Volume One: history when the United States Part Three 19:12 was in its infancy. Occupying 25 CD 3 1-4 Songs of Experience, Volume Two: Part Four 8:18 years of William Bolcom’s 5-0 Songs of Experience, Volume Two: Part Five 15:24 !-^ Songs of Experience, Volume Two: Part Six 19:00 compositional life, his “musical illuminations”, inspired by Brewer • Brueggergosman • Davidson • Hohenfeld Pelton • Morris • Simpson • Young • Ford • Graham Blake’s own wide panoply of Morgan • Ruth • Kittel • Choirs poetic styles in the cycle, travel University of Michigan School of Music Symphony Orchestra thrillingly from intense University Musical Society dissonance to folk, rock, and DDD Leonard Slatkin reggae to encompass the A full track list and cast list can be found on pages 2-4 of the booklet. breadth of the Blakean spiritual Recorded at Hill Auditorium, The University of Michigan, Ann Arbor, Michigan, USA on 9th and 10th April, 2004 universe. Producer: Tim Handley • Engineer: David Lau (Brookwood Studio, Inc.) 8.559216-18 8.559216-18 Songs of Innocence and of Experience by William Bolcom is copyright BOLCOM: Songs of Innocence and Experience g 1985 by Edward. B. Marks Music Company. BMI. www.naxos.com Cover art: Frontispiece to Songs of Experience: plate 28 from Songs of Innocence and of Experience (copy AA) c. 1815-26, by William Blake (1757-1827) (Fitzwilliam Museum, University of Cambridge, UK / www.bridgeman.co.uk) AXOS American flag, folk artist, 1880s. N