urns presents Michigan Chamber Players Faculty Artists of the University of Michigan School of Music, Theatre & Dance

Richard Aaron, Cello Yehonatan Berick, Grace Browning, Harp Timothy Cheek, John Ellis, Piano Caroline Helton, Soprano Martin Katz, Piano Carmen Pelton, Soprano Rico Serbo, Tenor

Program Sunday Afternoon, March 9, 2008 at 4:00 Rackham Auditorium, Ann Arbor

Sylvie Bodorova Sadaj, sinko, sadaj (Set, Sun, Set) I. ao sa stalo nove II. Dala som mu pierko III. Sadaj, slnko, sadaj IV. Neorem, nesejem V. Zavej, le vetriaok VI. Preao le ma VII. Op'taj sa Balala

Ms. Pelton, Mr. Serbo, Ms. Browning, Mr. Cheek

Robert Kahn Sieben Lieder aus "Jungbrunnen", for Voice & , Op. 46

Ms. Helton, Mr. Berick, Mr. Aaron, Mr. Katz

INTERMISSION

Johannes Brahms Trio in c minor. No. 3, Op. 101 Allegro energico Presto non assai Andante grazioso Allegro molto

Mr. Aaron, Mr. Berick, Mr. Ellis

43rd Performance of the Thanks to all of the U-M School of Music, Theatre & Dance Faculty 129th Annual Season Artists for their ongoing commitment of time and energy to this special UMS performance. The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. Michigan Chamber Players

Sadaj, sinko, sadaj (Set, Sun, Set) And I find that feather from you disagree­ Sylvie Bodorov£ able, disagreeable, disagreeable!!! Bom 1954 III. Sadaj, slnko, sadaj Sylvie Bodorova is one of the leading Set, sun, set behind the high mountain, Czech/Slovak composers of today. Her most if you won't set, I'll pull you down by your legs. to date include the Terezin notable works If the sun knew how difficult it is to work, Ghetto Requiem (1998) for baritone and it would hurry up and go behind the mountain. and her fourth string quartet. Her largest composition is the oratorio Judas IV. Neorem, nesejem Maccabeus (2002), and she is currently at work on another oratorio, Moses, to be pre- I'm not plowing, I'm not sowing, yet my rye miered in July. Since the 1990s, BodorovS has is growing, been a regular visiting faculty member at the I have such a pretty girl, and she alone is Cincinnati Conservatory. The work heard this dating me. evening was written in 2005 for famed Slovak soprano Gabriela Befiafkovci and tenor I didn't go with her, she alone came to me, like that lamb goes to green grass. Stefan Margita. I alone am going with him! I alone am going I. ao sa stalo nove with him! She alone is going with me! She alone is What just happened in the Trenain castle? going with me! Ah, Janek's watching over his horses in the nice marjoram. V. Zavej, le vetriaok

He's watching over them, he's watching, Blow, breeze, along our side of the hill, until he trembles all over, until you dry the tears from my eyes. ah, because his girl is bringing him bad news. Blow, breeze, along the green slope, Don't bring it to me, don't bring it, until you bring a cure for the wound in my for God's sake, heart. ah, tell it, my dear, tell it to someone else! Blow, breeze, blow along the green mountain, I'll tell someone else that he's not guilty, carry my sweetheart to me in a green shirt! ah, for you, my dear, we'll go to jail I VI. Preao le ma II. Dala som mu pierko Hey! Hey! Hey! Hey! Hey! Why is my shep­ I gave him a feather with all sorts of colors, herd boss swearing at me? I thought he was a handsome guy. Because I didn't spend the night by him. I gave him a feather, I did, I did. I spent the night next to my sweetheart, last She gave me that feather with all sorts of colors, night. so really she thought I'm a handsome guy. She gave me that feather, she did, she did! VII. Op~taj sa Balal'a

And you can't see straight, Ask Balal, from where does the water spring? and you find that feather from me disagree­ From small cliff to large, greet my pretty girl! able, disagreeable, disagreeable. Ask the owl, where is Janik sleeping? I really can't see straight, At the neighbor's under the pear tree, next and I already find that feather from her to that cute Aniaka! disagreeable. Ask Balal, from where does the water and you find that feather from me disagree­ spring?Ask Balal!!! able, disagreeable, disagreeable!!! Translations by Timothy Cheek. Michigan Chamber Players

Lieder aus "Jungbrunnen", for Voice & 1939, at the age of 73, he and his wife were Piano Trio, Op. 46 able to emigrate to , where he con­ Robert Kahn tinued to compose prolifically until his death Born July 21, 1865 in in 1951. Died May 29, 1951 in , Kent Kahn wrote over 200 songs which were performed enthusiastically by singers of his Robert Kahn was a successful composer, day, often accompanied by the composer at teacher, conductor, and collaborative pianist, the piano. The Lieder aus "Jungbrunnen," for whose compositions are dominated by cham­ Voice & Piano Trio, Op. 46, are typical of ber music, piano compositions, songs, and Kahn's other song output in his choice of tra­ choral works. He came from a well-to-do ditional German lyric poetry and his conserva­ Jewish family in Mannheim, and as a young tive yet expressive settings in the Romantic man Kahn was able to meet and impress style. The highly idiomatic piano and string . The two composers spent writing shows his gift for , and a few years in close contact toward the end the vocal line unfolds in beautiful, symmetri­ of Brahms's life, developing a friendship that cal phrases, in which Kahn demonstrates little was pivotal for the younger composer. Kahn interest in the intense word painting or vocal went on to serve on the faculty of the Royal virtuosity of contemporaries such as Hugo Conservatory of Music in and was also Wolf or Richard Strauss. They are little gems appointed to the Prussian Academy of the from the golden age of German song, which Arts, but in 1934, despite his well-respected unfortunately were buried first by Nazi sup­ position and success as composer and per­ pression and then through the obscurity former, he was forced by the Nazis to resign borne of chaos in post-war Germany. his post and was forbidden to perform in public or to publish his compositions. In early

I

Nun stehn die Rosen in Blute, Now the roses are in bloom, Ein Netz wird bald gewoben sein. And a net is being woven, Mein Flatterhaft Gemute, My fickle emotions, Dich fangen sie nicht ein! They won't catch you!

Und blieb ich Armster hangen And if I, poor me, were to be trapped In dieser jungen Rosenzeit In this youthful time of roses An schonsten Rosenwangen, By the most beautiful rosy cheeks, Meine Jugend tate mir leid. My youth would make me sorry.

Ich mag nur lachen und singen, I only like to laugh and sing, Durch bluhnde Wa'lder schweift mein Lauf; Through blooming forests sweeps my path; Mein Herz will sich erschwingen My heart wants to swing Bis in die Wipfel hinauf! Up to the very treetops!

Mein Herzblut geht in Sprungen, My heart's blood is jumping, Mein Rosslein geht im Trab: My little horse is trotting: Hurrah, welch lustig Reiten, Hurray! What joyous riding, Wildfremdes Land zur Seiten; Wild country on either side: Muss alles mir bezwingen, I must conquer everything Was sich nicht selbst ergab. That doesn't yield itself to me. Michigan Chamber Players

Die Fahn' im Windeszuge, The flags in the breeze, Sie flatted auf und ab, They flap up and down, So reiten wir durch's Leben, So we ride through life, Bis Herz und Glieder beben, Until our hearts and limbs tremble, Bergauf, da gent's im Fluge, Going so quickly uphill, Und sachte, sacht bergab. And softly, softly downhill.

III

Waldesnacht, du wunderkuhle, Forest night, your miraculous coolness, Die ich tausend Male gruss', That I greet a thousand times, Nach dem lautenWeltgewuhle, After the world's loud torments, 0 wie ist dein Rauschen suss. 0, how sweet is your rustling.

Traumerisch die muden Glieder Dreamily I bury my tired limbs Berg ich weich in Moos, Softly in the moss, Und mir ist, als wurd' ich wieder And it seems to me, as if I were All der irren Qualen los. Again free of all my confusing anguish.

In den heimlich engen Kreisen In its secret, close company Wird dir wohl, du wildes Herz, You will be well, you wild heart, Und ein Friede schwebt mit leisem And with softly beating wings Flugelschlagen niederwarts. Peace floats down to you.

Singet, holde Vogellieder Sing me softly to sleep, Mien in Schlummer sacht! Dear birdsongs! Irre Qualen, lost euch wieder, Confusing fears, loose yourselves again, Wildes Herz, nun gute Nacht! Wild heart, now goodnight!

IV

Wie bin ich nun in kuhler Nacht How am I now in the cool night Im Wald herum gestrichen! Wandering about in the forest! Die Ba'ume, noch von Regen schwer, The trees, still heavy with rain, Sie wogten tropfend hin und her; They swayed dripping here and there; Ha'tt' nicht mein Herz gebrannt so sehr, Had my heart not burned so much Nach Haus war ich gewichen. I would have slunk back home.

Die lohe Glut kein Regen mag, The glowing fire cannot be cooled, Kein Thau zu kuhlen taugen, Neither by rain nor by dew, Der rothe Blitz entflammt sie nicht, The red lightning that suddenly breaks Der jah die schwarzen Eichen bricht, The black oaks doesn't set the fire, Das that der Liebsten Angesicht My beloved's face has done that Mit den zwei lichten Augen. With her two bright eyes.

Wie trag ich doch im Sinne How I feel within myself So wunderfrohen Muth! Such wondrous courage! Das kommt von susser Minne, That comes from sweet love, Die heimlich brennen thut. That secretly burns. Michigan Chamber Players

Im Walde lacht der Maie, The month of May laughs in the forest, Nun geht's an's Wandern frei, Now is when one is free to travel, Und hot man tausend Kronen mir, And if someone offered me a thousand Kronen, Ich war nicht mil dabei. I wouldn't go with him.

Mein Schatz hat lichte Haare, My darling has light hair, Hat Wanglein weiss und roth, Her cheeks are rosy and fair, Von ihr will ich nicht fahren, I don't want to leave her, Es scheid' uns denn der Tod. Because only death will part us.

In aller weiten Welt In the whole wide world Mir nichts so wohl gefallt; Nothing pleases me as much; Seit ich mein'n Schatz zuerst erschaut, Since the first time I saw my darling, Ist's Wandern mir vergallt. Traveling has lost its allure.

Drei Wochen nach Michele, Three weeks after Michaelmas, Da giebt's ein lustig Frei'n, There will be a joyous celebration, So froh mag kein Seele No one in the whole world Auf dieser Erde sein. Could be happier.

Ein eigen Haus und Herd One's own home and hearth Sind Kaiserkronen werth, Are worth the riches of an emperor, Und kommt mir je das Wandern an, And if I ever have an urge to travel, Ich mach schon zeitig Kehrt. I'll make an early return.

VI

In der Mondnacht, in der In the moonlit night, the moonlit night of Fruhlingsmondnacht spring Gehen Engel um auf leisen Sohlen; Angels tread on soft soles; Blonde Engel, innig und verstohlen Blonde angels, heartfelt and secretly Kussen sie die schonsten Menschenblumen. Kiss the most beautiful human flowers.

Tausendschonchen, allerliebste Blume, Of a thousand beauties, most beloved flower, Weiss es wohl, woher der Schimmer stammet. It knows well whence comes the glow Der dir heut das Antlitz uberflammet: That lights up your face today: Bist noch in dem Traum der Nacht verloren, You are still lost in the dream of night.

Denkst der Engel, die durch's kleine Fenster You think the angel, that comes to you Sich auf Mondesstrahlen zu dir schwangen, On a moonbeam, through the little window, Leise dir zu kussen Mund und Wangen To kiss you lightly on the lips and cheeks In der Mondnacht, in der In the moonlit night, in the moonlit night Fruhlingsmondnacht. of spring.

VII

Es geht ein Wehen durch den Wald, There is a breeze through the forest, Die Windsbraut hor'ich singen, I hear the wind's bride singing, Sie singt von einem Buhlen gut, She sings of a good husband, Und bist sie dem im Arme ruht, And until she rests in his arms, Muss sie noch lang in bangem Mut She must still longer wander Sich durch die Lande schwingen. Fearfully throughout the countryside. Michigan Chamber Players

Der Sang, der klingt so schauerlich, The song, it sounds so dreadful, Der klingt so wild, so trube. It sounds so wild and dark. Das heisse Sehnen ist erwacht, Passionate longing is awakened, Mein Schatz, zu tausend gute Nacht, My beloved, for a thousand goodnights, Es kommt der Tag, eh du's gedacht, The day will come, sooner than you think, Der eint getreue Liebe. That unites faithful love.

Program note and translation by Caroline Helton.

Piano Trio in c minor. No. 3, Op. 101 tigious , including the Cleveland, Johannes Brahms Philadelphia, Pittsburgh, and Seattle Born May 7, 1833 in Hamburg, Germany Symphonies; and are members of award-win­ Died April 3, 1897 in ning quartets, including the Biava, Fry Street, and American. Mr. Aaron served on the facul­ Brahms wrote his third and last trio for piano, ty at the Cleveland Institute of Music and violin, and cello during an especially productive ENCORE School for Strings faculties for 14 summer vacation in Switzerland (the Cello years prior to his appointment at U-M. Sonata in F Major, Op. 99 and the Violin Sonata in A, Op. 100, were also composed at A prizewinner at the 1993 Naumburg compe­ the same time). In the Trio, Brahms revisited tition and a recipient of the 1996-97 Prix the key of c minor, a tragic and turbulent Opus, Yehonatan Berick (Violin) is in high tonality since the days of Haydn and Mozart. demand internationally as soloist, redtalist, The trio was a favorite of numerous musicians, chamber musician (on violin as well as on including Clara Schumann, who believed it viola), and pedagogue. His busy concert one of the greatest of his chamber works. schedule has already taken him throughout Against the broad and rather dramatic North America, Europe, and Israel. style of the opening movement, the second, Mr. Berick has appeared at many nation­ written in duple meter, contracts by assuming al and international festivals and chamber the form and style of a Scherzo. The third series, and was co-artistic director of the movement reflects a lilting, Viennese influence, revived Quebec Chamber Music Society. while the virtuoso composition of the final Touring as a chamber musician with movement brings the trio to a brilliant dose. Musicians from Marlboro, The Lortie-Berick- Lysy Piano Trio, the Huberman String Quartet, Concertante Chamber Players, and other chamber ensembles, he has been featured in ichard Aaron (Ce//o) has traveled the world's most important music centers. extensively, giving master classes in Prior to his appointment as Professor of Madrid, Spain; Manheim, Germany; R Violin at U-M, Mr. Berick was on the faculties Seoul, Korea; Matsumoto, Japan; Paris, of McGill University and the Eastman School France; and in the US at many leading of Music. He began his musical education at schools, including Rice, Eastman, Michigan, the age of six. Having graduated from high- and Oberlin. He is a member of the Elysian school at 16, he entered the Tel Aviv Trio, in residence at Baldwin-Wallace College. University's Music Academy, and completed During summers, he has taught at the Aspen his studies at the College-Conservatory of Music Festival, Indiana University String Music at the University of Cincinnati, earning Academy, Calgary Music Bridge, Aria, full tuition and graduating Summa cum Innsbruck, the Chautauqua Festival, and Lauda. His principal violin teachers were Nona Idyllwild. Mr. Aaron's students have won Feher, Henry Meyer, Kurt Sassmanshauss, and numerous national and international compe­ Dorothy Delay. One of the brightest talents of titions; have performed as soloists with pres­ Michigan Chamber Players

Israel, Mr. Berick won several Clairemont papers on musical meaning and pedagogy at Awards, and received yearly stipends from the the University of Bologna, the Universite de America-Israel Cultural Foundation. Mr. Provence, the University of Helsinki, and the Berick currently plays on a violin by Honore New England Conference of Music Theorists Derazy Pere from 1852, and a viola by Stanley at Wellesley College. His articles have been Kiernoziak from 2003. published by CLUEB (Bologna)/lnternational Semiotics Institute (Finland), and Acta Grace Browning (Harp) Semiotica Fennica. His primary teachers were Mr. Timothy Cheek (Piano) has served opera Cunningham, Frank logha, Michel Block, and internships at the Teatro Comunale in Constance Keene. He has served on the fac­ Florence, Italy, and at the National Theatre in ulties at the Manhattan School of Music, Prague. His performances as a collaborative Theatre & Dance and the Brooklyn pianist have taken him to 12 countries, and Conservatory of Music. He has taught on the have been heard on world-wide broadcasts, piano faculty of the U-M All-State program at PBS, and Austrian television. Highlights of his Interlochen and coordinated the piano pro­ work include engagements at the Ravinia gram at the U-M Summer Arts Institute. Mr. Festival's Steans Institute, the Santa Fe Opera, Ellis performed for three years as the pianist the International Institute for Chamber Music for an improvisational comedy group in New in , the Mozart Opera Studies Institute York City headed by Kathy Kinney, now fea­ in Austria, the Israel Vocal Arts Institute in Tel tured on The Drew Carey Show. Aviv, and recitals in Hong Kong and at the American Academy in Rome. Mr. Cheek has Caroline Helton (Soprano) joined the voice held several grants, including an Olivetti faculty at the U-M School of Music, Theatre & Foundation Grant to perform in Italy, a Dance in the fall of 2000, after having com­ Fulbright award, and an IREX grant to con­ pleted her doctoral work at that institution in duct research in the Czech Republic which led 1998. Dr. Helton has recently appeared with to his book Singing in Czech: A Guide to the Michigan Chamber Players as well as with Czech Lyric Diction and Vocal Repertoire pub­ the Brave New Works Ensemble, with whom lished by Scarecrow Press. she performed Joseph Schwantner's Wild Angels of the Open Hills. Over the last year John Ellis (Piano) is the Director of Graduate Dr. Helton sang a series of recitals in Studies in Piano Pedagogy, administers the Alabama, North Carolina, Virginia, and preparatory department and the class piano Michigan, after which she was described by curriculum. He is in demand, nationally and the Durham Herald Sun as performing with internationally, as a masterclass clinician, "masterful" artistry and a "clear, bell-like adjudicator, and lecturer on piano pedagogy. soprano." She has also had the pleasure of His recent travels have taken him to the premiering works by Vitezslava Kapralovci University of South Florida, the Sibelius (Sbohem a satecek, Leden) with fellow U-M Academy in Helsinki, Finland, and Hawaii. Mr. faculty Timothy Cheek, Andre Myers (Moon Ellis speaks regularly on pedagogy topics to Songs), Tom Schnauber (Liebeslieder fur teachers groups throughout Michigan. As a Vogel) and Gabriel Gould (Songs from A pianist, he has performed as soloist, lecture- Child's Garden) in Ann Arbor, Michigan and recitalist, and collaborative artist in New York South Bend, Indiana. She appears yearly on City, Finland, and Germany. He has recorded concerts with the Ann Arbor Festival of Song, the piano music of Arthur Cunningham. collaborating with pianist Kevin Bylsma, and As a scholar in the field of pedagogy, has also performed with the Bach Dancing Mr. Ellis combines music theory, musicology, and Dynamite Society, founded by pianist and the humanities with the more traditional Jeffrey Sykes, and flutist Stephanie Jutt. pedagogical methods. He has worked with During her studies at U-M with Freda Herseth the Musical Signification Project of the and Martin Katz, she sang the role of Adina International Congress on Musical in Donizetti's L'E/isir d'Amore and the title role Signification (ICMS) since 1996, presenting in Stravinsky's Le Rossignol with the U-M Michigan Chamber Players

Opera Theater, as well as the title role in with Pro Musica , the Grammy Award- Handel's Semeie with Michigan Opera Works winning Naxos recording of William Bolcom's (directed by George Shirley). Ms. Helton has Songs of Innocence and of Experience, and one sung opera, oratorio, chamber music, and of Robert Shaw's last recordings with the recitals in Germany and Italy as well as the Atlanta Symphony: Barber, Bartok and US, and has also been active as a teacher, cli­ Vaughan-Williams, which won a Grammy for nician, and adjudicator since she came to "Best Classical Album of the Year." She is also Michigan from North Carolina in 1995. on the faculty at the Brevard Music Center in North Carolina. Martin Katz (Piano) has been dubbed "dean of accompanists" by The Los Angeles Times, and Rico Serbo (Tenor) hails from California where was the 1998 recipient of Musical America's he studied at the University of the Pacific. He "Accompanist of the Year" award. He regularly remained on the West Coast to begin his pro­ collaborates in recitals and on recordings with fessional life at the San Francisco Opera. artists including Marilyn Home, Frederica von Subsequently, he was engaged as principal Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia tenor with the Theater der Stadt Koblenz and Bartoli, David Daniels, and Jose Carreras. the Staatstheater am Gaertnerplatz in Munich. Highlights of Mr. Katz's more than 30 years of Mr. Serbo also thrilled audiences with numer­ concertizing with the world's most celebrated ous guest appearances throughout Germany, vocal soloists include innumerable recitals at Austria, and Switzerland offering stirring per­ Carnegie Hall, appearances at the Salzburg formances of many roles including the Duke in Festival, tours in Australia and Japan, and per­ Rigoletto, Alfredo in La Traviata, Tamino in Die formances at La Scala, the Paris Opera, and the Zauberf/oete, Rodolfo in La Boheme, and the Edinburgh Festival. His concerts are frequently Italian Tenor in Der Rosenkavalier. His return to broadcast both nationally and internationally. American shore has brought many distin­ His work has been recorded on the RCA, CBS, guished engagements with numerous Cetra, BMG, EMI, Phillips, and Decca labels. The American opera companies and symphony Metropolitan, Houston, and Ottawa operas orchestras. have performed his editions of Baroque and bel Great versatility in a broad spectrum of canto operas of Handel, Vivaldi, and Rossini. musical styles has been a hallmark of this At U-M, in addition to instruction in artist's career. His concert work has found him ensemble for pianists, Mr. Katz coaches singers, singing great masterpieces of the traditional teaches vocal repertory, and is a frequent con­ classical repertoire such as the Verdi Requiem ductor of the School's opera productions. and Hymn of the Nations, Handel's Messiah, Rossini and Dvorak Sfabaf Mater as well as Carmen Pelton (Soprano) has appeared in a contemporary works such as Honegger's wide range of works with orchestras, opera Jeanne d'Arc, Stravinsky's Oedipus Rex and houses, chamber music groups, Equity drama Pulcinel/a, and completing the circle of reper­ theaters, and Off-Broadway productions. toire with popular favorites such as Conductors have included Robert Shaw, Jeffrey Bernstein's West Side Story, Andrew Lloyd Tate, Donald Runnicles, Patrick Summers, Webber's Requiem and The Phantom of the Gerard Schwarz, and Nicholas McGegan with Opera, and Schonberg's Les Miserables. such diverse groups as the San Francisco Mr. Serbo has won three prestigious Symphony, Atlanta Symphony, Baltimore vocal awards: The Kirsten Flagstad Award, a Symphony, St. Paul Chamber Orchestra, Scottish Martha Baird Rockefeller Grant, and both Opera, Goodman Theater, the Smithsonian's grant and award from the Corbett 21th-Century Consort, the New York Festival of Foundation of Cincinnati, OH. This multi- Song, and the Library of Congress. Recent pre­ faceted artist has made his recording debut in mieres include works by Mark Adamo at the release of L'Assedio di Calais by Donizetti Carnegie Hall and Augusta Read Thomas at the for the Opera Rara London label. Kennedy Center. Ms. Pelton's recent recordings Mr. Serbo joined the faculty of the U-M include Barber's Knoxville: Summer of 1915 School of Music, Theatre & Dance in 2005.