January programs include a visit by Wynton Marsalis and the Lincoln Center Jazz Orchestra
ANN ARBOR – The University Musical Society’s 05/06 season moves into the dead of winter with several events that represent the full spectrum of UMS programming, including orchestral and choral music; jazz and chamber music.
John Eliot Gardiner and the Orchestre Revolutionnaire et Romantique are joined by the Monteverdi Choir for a special concert Thursday, Jan. 19 at 8 p.m. at Hill Auditorium that celebrates Mozart’s 250th birthday. The performance features two of Mozart’s most ambitious, though unfinished, choral works: the “Mass in c minor” (also known as the “Grand Mass”), which may have been written in celebration of his marriage; and the “Requiem,” prominently featured in the 1985 film “Amadeus,” left unfinished by Mozart’s untimely death at the age of 35. Acknowledged as a key figure in the early music revival, versatile conductor John Eliot Gardiner is recognized worldwide for his particular combination of scholarship and inspired musicianship. He most recently won Gramophone magazine’s 2005 Record of the Year Award for a recording of Bach Cantatas with the Monteverdi Choir and the English Baroque Soloists. The ORR and Monteverdi Choir last appeared with Gardiner in 2004 as part of the Hill Auditorium Re-Opening Weekend.
The Tokyo String Quartet returns Saturday, Jan. 21 at 8 p.m. at Rackham Auditorium for its first UMS performance since 1998 as part of the Mozart 250 series, highlighted by a performance of Mozart’s “Clarinet Quintet.” Joined by Sabine Meyer, former principal clarinetist of the Berlin Philharmonic, the Tokyo String Quartet traces its origins to the Toho School of Music in Tokyo, where the founding members were profoundly influenced by Professor Hideo Saito. The ensemble now serves on the faculty of the Yale School of Music.
Then join Wynton Marsalis and the Lincoln Center Jazz Orchestra on Sunday, Jan. 22 at 4 p.m. at Hill Auditorium for the ensemble’s new arrangement of John Coltrane’s seminal jazz suite, “A Love Supreme,” originally recorded by the saxophonist at the end of 1964 and widely regarded as one of the most influential and revered recordings of the century. Marsalis and the LCJO adapt this immortal composition for the big band sound.