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Outgoing UMS Choral Union Music Director and Conductor Jerry Blackstone Inspires $100,000 Gift:

Posted: 7/8/15 -- 9:35 am

As the UMS Choral Union welcomes a new Music Director and Conductor, a $100,000 gift is made in the honor of the dedicated service of choral union members and their outgoing...…

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Apply: 2015-2016 UMS Artists in Residence Program

Posted: 7/20/15 -- 7:25 am

Apply to be part of our 2015-2016 UMS Artists in Residence Program. Receive complimentary performance tickets, a stipend, and more.…

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A Community of Singers, Right Here in Ann Arbor:

Posted: 6/25/15 -- 1:20 pm

We chat with Karen Isble, member of UMS Choral Union, about her most memorable UMCU experiences, including a performance in blizzard conditions.…

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Being a Part of Something Bigger: A Student Perspective on the UMS Choral Union

Posted: 6/12/15 -- 12:43 pm

"It turned out that joining the UMS Choral Union was one of the best choices I have made at the University of Michigan."…

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Announcing our 2015-2016 season!:

Posted: 4/23/15 -- 9:59 pm

This season will be __________________ . That blank is yours to fill in. At UMS, we believe in personal experiences – interacting with performances in a way that is yours...…

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Student Spotlight: Artist Internships for the 21st Century

Posted: 4/7/15 -- 7:12 pm

The fast changing environment of the 21st century poses new demands on artists. They must reach potential audiences in innovative and unexpected ways. To address these needs,...…

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Video of the Week

Inspiring Artists Through Performance

People Are Talking: UMS presents Richard Goode at Hill Auditorium

Posted: 4/26/15 -- 5:00 pm

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My partner has an etsixing custody order in place dated 2006. The mother has full custody and access is to be agreed between the parties.We need the orders to be changed as two of the children now live with us (15 and 18) but there is still a girl (8) who lives with the mother but we cannot see her as the mother does not allow it. Long story.I want to lodge an initial application with the Family Law Court Brisbane. Do I also need to lodge an affidavit?

Open

Posted: 7/21/15 -- 10:19 am

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I was introduced to two works this afternoon that I had never heard before – the first and the last on the program. I love that -- hearing something new to me, but not new in the world. How often does this happen? Sure, we hear new stuff at concerts but it was written day before yesterday, and so, of course none of us has heard it. But there are many treasures of the past that some of us can still discover afresh, and this can makes concert going all the more exciting – if it happns often enough! Let’s all express our appreciation when novelties of this kind are programmed (in addition to well-performed chestnuts.) One often thinks of Mozart as a composer of sweet, straightforward tunes that go easily into the ear and that one can hum while taking a shower. This Adagio is neither simple nor hummable. But Mr. Goode gave it transparency and brought out lines that might have gone unheard. I’ll see if I can find it again on YouTube. In the second movement of the Beethoven he started speeding up, and he continued to play at headlong tempos in the Brahms; I’ll eat my hat if old Johannes intended that velocity. It’s a lamentable trend. I wonder whether artists are flattering some real or imagined culture-wide impatience. But playing music faster than intended is like being taken to the Louvre or the Uffizi and having only 5 seconds in front of each painting. (“Did you like the Mona Lisa?” “Was that the female head two paintings ago?”) A pianist friend put it this way: “Brahms needs more space.” Very true. On a different point, another pianist said the sonorities in op. 76 are too homogeneous to play the whole thing at once; some pieces: yes, but not all of them. After all, it’s not a suite. The Debussy was top-notch -- everything in its place. All the humor accounted for. The Humoresque -- clearly Schumannesque “handwriting” – strikes me as a bit longer than absolutely necessary; I’ll wait patiently to hear it again. Which proves that not everything that’s new to you is equally worth getting to know. Or, to put it more crassly, some works are justly neglected. But how about that programming, ranging from the late 1700s to thee early 20th century? Did we hear a single orchestral program this year or the previous or the one before that that ranged so widely? Season adjourned. See you in September. Some good stuff coming up.

Music Lover

Posted: 4/27/15 -- 7:54 pm

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I was disappointed. An interesting program but difficult to pull off in this environment. To my ears, Hill Auditorium is just not an appropriate venue for piano recital. From where we were sitting, (row J stage left), the sound was remote, with a cold metallic quality. Having heard Mr Goode in more piano-friendly venues, I'm guessing it wasn't his playing that was at fault! I know UMS wants max attendance but there are much better "rooms" in the immediate vicinity.

Norman

Posted: 4/27/15 -- 7:17 pm

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Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses! Richard Goode’s program was ambitious in an artistically subtle way. The pieces he performed are some of the lesser performed works and for the most part, required a - for lack of a better word - childish innocence. I’ve often been told that you can only play Mozart well if you are either a child or an elderly person. There must be something about middle-aged people that’s too complicated for the purity expressed in Mozart. In Richard Goode’s rendition of the Mozart, I heard a youthful innocence with the maturity and intellect of an adult. The combination was quite special. Another difficult aspect of Mozart is that it is stripped down to the core. There isn’t much grandeur or technical flourish to “hide” behind, unlike Liszt or Beethoven, but Mr. Goode didn’t need anything to hide behind. From the opening phrase, he garnered the audience in with an intimacy that made me feel like we were having a personal conversation. With every sforzando, I felt a jab in the chest - as if he were telling me about a sad experience. It was amazing how the rubato, essentially an imperfection in the pulse, could be used so tastefully to make it a perfect artistic gesture. Unlike mediocre pianists, the ends of phrases were attended to just as carefully as their peaks. Seeing a lone pianist on such a big stage made the experience that much more memorable for me. Sure, the massiveness and overwhelming presence of a symphony is something indescribable on its own; however, by the end I felt as if I had experienced pure joy, harrowing ordeals, and sadness. It was an interestingly introspective encounter that I think I owe to Mr. Goode’s willingness to make himself vulnerable as both a person and performer in order to provide this magical experience that’s so hard to come by. The Beethoven was a stark contrast from the Mozart. The lyricism in the first movement made Mr. Goode’s sound come across as more vocal than percussive and the phrases were beautifully contoured. In moments where he came out of a forte section followed by a suspenseful break, and re entered with a piano sound were like walking into an enchanted forest. There was a sense of wandering throughout that kept me emotionally engaged throughout. The final movement ended with a refreshing rush of vitality. Some of the chords that ran up the register reminded me of Beethoven’s Emperor Concerto and especially in those instances, Mr. Goode really seemed to dominate the piano. When he returned on stage for the Brahms and began to play, it seemed as if he had aged 20 years. The expressiveness of the sound was so experienced and packed from the purity he had shown us in the previous pieces. From the full textures to the articulations, his unlimited range of emotions was evident. My favorite was the last Intermezzo because of how he brought out the richness of the beautiful harmonies. The moments of key change were like flowers blooming. I also liked the final Capriccio for how uninhibited and raw it was. But my favorite piece from the entire program had to be Debussy’s Children’s Corner. I played parts of it when I was younger, but I could have barely recognized them because they were so masterfully played - no one would have guessed they were for children aside from how humorously Mr. Goode played them. Despite the repetition in Doctor Gradus ad Parnassum, the momentum was continuous and played with so much conviction. There were parts in The Snow is Dancing where the repeated notes in his right hand seemed to be talking and an unbeatable spirit dominated through Golliwog’s Cake-walk. The only childish aspect of it all was the unpredictability and excitement during the performance. The Schumann was a thought-provoking way to conclude the unique program. It reaffirmed my opinions that Mr. Goode is truly an artist that understands that music is more than an admirable performing arts, but that it is human expression and communication. At the cost of his comfort, I was able to experience the multi-faceted nature of human emotion and experienced a reflective evening that I will not forget.

Isabel Park

Posted: 4/27/15 -- 9:55 am

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Thank you. I appreciate it when more knowledgeable listeners come to the Lobby and let us know what the encores were.

Gretta

Posted: 4/27/15 -- 8:49 am

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Hello! The encore was Beethoven Bagatelle #4, from Op. 126.

Anna Prushinskaya

Posted: 4/27/15 -- 8:07 am