University Musical Society
of the University of Michigan
Winter 2003 Season
university musical society
University of Michigan Ann Arbor
UMSleadership
UMSservices
UMSannals
UMSexperience
UMSsupport
2 Letters from the Presidents
4 Letter from the Chair
5 Corporate LeadersFoundations 14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
17 General Information
18 Tickets
19 Group Tickets
19 Discounted Student Tickets
19 Gift Certificates
21 The UMS Card
21 www.ums.org
23 UMS History
25 UMS Choral Union
26 VenuesBurton Memorial Tower
29 The 2003 UMS Winter Season
35 Education & Audience Development
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
39 BRAVO!
43 UMS Delicious Experiences
45 Advisory Committee
45 Sponsorship & Advertising
47 Internships & College Work-Study
47 Ushers
48 Support
56 UMS Advertisers
Front Coven Signs in Ri (Robed HolmesCORBIS), Sweet Honey in the Rock (Roland 1 rccman), Eos Orchestra. RSC's CarioLtnus (Manuel Marian); Back Coven Dill T. lones
and Orion String Quartet. Apollo Theater Sign (Lee SnidcrCORBIS), Dave Holland (courtesy ECM Records); Inside Back Coven Aaron Copland, Egon Vehicle's Girl with Raistd Arm
(O Geoffrey ClementsCORBIS), Morimur CD cover
FROM THE UM PRESIDENT
The University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are also wonderful opportunities
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars.
The current season marks the second resi?dency by the Royal Shakespeare Company of Stratford, England which performs three plays in March: The Merry Wives of Windsor, Coriolanus, and Salman Rushdie's Midnight's Children. UM and UMS co-presentations are not limited to theater, but also include per?formances by the Vienna Philharmonic, the Bolshoi Ballet, and a special event entitled "Evening at the Apollo," in which the best performing groups from Detroit and Ann Arbor are given a chance to compete for a slot at Harlem's Apollo Theater Amateur Night, where Ella Fitzgerald, Sarah Vaughn, Billie Holiday, and other legends of 20th-
century American music got their big breaks. As befits the educational missions of both the University and UMS, we should also recognize the co-sponsorship of educational program?ming involving, among others, the Abbey Theatre of Ireland, Grupo Corpo, Sekou Sundiata and creative co-sponsorship of presentations by the Hubbard Street Dance Company and the well-known female a cappclla group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency.
Sincerely,
Mary Sue Coleman,
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 2003 Winter Season events beginning on p. 29 of the glossy pages of this program
and on our website at www.ums.org.
We welcome UM President Mary Sue Coleman to the southeast Michigan community and to membership on the UMS Board of Directors. The
university from which President Coleman came to Michigan has a distinguished record in its support of creative artists. During the Millennium season alone, while Dr. Coleman was president, the University of Iowa's Hancher Auditorium premiered over 20 new works in music, dance, and theater, all of them com?missioned by Hancher. This unprecedented level of support of creative artists by a uni?versity presenting organization captured the attention of the performing arts field world?wide and reinforced the idea that research in the performing arts is as important and as valid to a great university as is research in other fields. We thank Dr. Coleman and her predecessors Lee C. Bollinger and B. Joseph White for the extraordinary level of UM sup?port for the second residency of the Royal Shakespeare Company March 1-16 and of eight other UMS projects this season that offer special value to the University's mission of teaching, research, and service.
This season offers some special challenges for UMS with the closing of Hill Auditorium
for restoration and renovation. With your understanding and support, we know we will overcome these difficulties and have a successful season. As we await our reopening concert scheduled for January 2004, UMS is creating special opportunities for our patrons to see and hear world-renowned artists in outstanding venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss the February 27 return of the Vienna Philharmonic for the first time in the region since 1988. For many of our Detroit performances, UMS is offering transportation by luxury coach to our Ann Arbor patrons.
Yes, things are different this season. The UMS staff is determined to do everything we can to make this season run as smoothly as possible for you and our other patrons. Please let us know if you have any questions or problems. Call our ticket office at 734.764.2538, now led by Ticket Services Manager Nicole Paoletti, successor to Michael Gowing who retired last year. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
leadership
LETTER FROM THE CHAIR
As I start my tenure as Chair of the Board of Directors of the University Musical Society, I am honored to serve an organization that brings rich and exciting cultural offerings to the University, to Ann Arbor, and to the larger community of southeastern Michigan. Where, outside of a major metropolis, could one have the opportunity to attend such a wide variety of events as Hubbard Street Dance, Medea, Tamango and Urban Tap, the Royal Shakespeare Company, and Bill T. Jones in a single academic year When my husband Ami and I first considered moving from Boston to the Midwest, UMS was an important part of our decision. The cultural life of Ann Arbor -it seemed to us then and continues to us now -is vital and accessible, equal only to major cities in the US. Many others share these same feelings. UMS remains one of our best recruiting tools, attracting people from all over the world to our community by bring?ing the most distinguished performing artists to our doorsteps. (Of course, this year, one of our "doorsteps" is temporarily fenced in and surrounded by a big hole!) Through UMS offerings we educate ourselves, enjoy ourselves and come to a fuller understanding of different cultures.
Of course, we could not possibly accomplish our goals of arts presen?tation, audience education and creation of new works without the generosity of UMS donors -individuals, corporations, philanthropic foundations, and government agencies. We are very grateful for the support they provide for our programs.
We look forward to continuing to present the best performing artists in the world to you each season, and we hope to see you at many perform?ances this winter.
Sincerely,
fO
Prue Rosenthal
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
'At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive ?'We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek
President and CEO, Bank of Ann Arbor 'Bank of Ann Arbor is pleased to contribute to the rich?ness of life in our community by our sponsorship of the 20022003 UMS season. We look forward to many remarkable performances over the year. By your atten?dance you are joining with us in support of this vibrant organization. Thank you."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
Carl Brauer
Owner, Brauer Investments
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
David G. Loesel
President, T.M.L Ventures, Inc.
"Cafe Marie's support of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite
Managing Partner, CFI Group, Inc.
"We're pleased to be in the group of community
businesses which supports UMS Arts and Education. '
We encourage those who have yet to participate to join us. Doing so feels good."
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation "The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund "DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
'It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America
'The University Musical Society is a leading presenter of
artistic groups--music, dance and theater. Please support
their efforts in the development of new works, which they
combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community.''
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to our com?munity for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
Robert 3. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Jan Barney Newman,
Secretary Erik H. Serr, Treasurer
Michael C. Allemang Janice Stevens Botsford William M. Broucek
Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis
Sally Stegeman DiCarlo Aaron P. Dworkin David Featherman Beverley B. Geltner Debbie Herbert Carl Herstein Toni Hoover
Alice Davis Irani Gloria James Kerry Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor Doug Rothwell
Judy Dow Rumelhart Maya Savarino Timothy P. Slottow Peter Sparling James C. Stanley B. Joseph White Clayton Wilhitc Karen Wolff
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokier Jorge A. Solis Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
ADVISORY COMMITTEE
Louise Townley, Chair Raqucl Agranoff, Vice
Chair Morrine Maltzman,
Secretary Jcri Sawall, Treasurer
Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Judi Batay-Csorba Kathleen Benton
Mimi Bogdasarian Jennifer Boyce Mary Breakey Jeannine Buchanan Victoria Buckler Laura Caplan Cheryl Cassidy Elly Rose Cooper Nita Cox Norma Davis Sally Stegeman DiCarlo Lori Director Michael Endres
Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Kathy Hentschel Anne Kloack Beth LaVoie Stephanie Lord Judy Mac Esther Martin Mary Matthews Ingrid Merikoski Jeanne Merlanti
Candice Mitchell Bob Morris Bonnie Paxton Danica Peterson Wendy Ransom Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shcvrin Loretta Skewes Maryanne Telese Dody Viola Wendy Woods
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert, Director of
Special Projects Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Manager
Choral Union
Thomas Sheets,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Development
Susan McClanahan,
Director Mary Dwyer, Manager of
Corporate Support Julaine LeDuc, Advisory
Committee and Events
Coordinator
Lisa Michiko Murray,
Manager of Foundation
and Government
Grants M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork, Direct
Mail and Gift
Processing Manager
EducationAudience Development Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Manager Warren Williams,
Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing
Manager Gulshirin Dubash,
Public Relations
Manager Nicole Manvel,
Promotion Coordinator
Programming Production
Michael ). Kondziolka,
Director Emily Avers, Production
Administrative Director Jeffrey Beyersdorf,
Technical Coordinator Christine Field,
Production Assistant Jasper Gilbert, Technical
Director Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Usher
Ticket Office
Nicole Paoletti, Manager Angela Clock, Assistant
Manager Sally A. Cushing,
Associate
Christine Field, Assistant Jennifer Graff, Associate Robert W. Hubbard,
Assistant Lakshmi Kilaru, Group
Sales Coordinator William P. Maddix,
Assistant Manager
Work-Study Pearl Alexander Aubrey Alter Nicole Blair April Dawn Chisholm Kindra Coleman Carla Uirlikov Barbara Fleming Jamie Freedman Alexandra Jones Dawn Low Natalie Malotke Melissa McGivern Lauren Molina Claire Molloy Bridget Murphy Vincent Paviglianiti Nadia Pessoa Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Interns Shirley Bartov Vineeta Bhandari Jennifer Gates Milcna Grubor Lindsay Mueller Sameer Palel
President Emeritus Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
loan Singer Sue Sinta Grace Sweeney Sandy Trosien Mclinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
UMSservices
GENERAL IN FORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, the Power Center, Mendelssohn Theatre and Detroit Opera House are equipped with infrared listening systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Rackham Auditorium, Trueblood Theatre, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Pease Auditorium, Detroit Opera House and Orchestra Hall please call the UMS Production Office at 734.764.8348.
Parking
Parking for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at www.ums.org.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
TICKETS
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing ad?dress will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171
By Internet WWW.UITIS.Org
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
The group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $50,000 on some of the most popular events in our season. Don't miss our current season, featuring world-renowned artists such as Sweet Honey in the Rock, the Vienna Philharmonic, Audra McDonald, Dave Holland, and many more, including our spe?cial Brazil Series, all at special group rates!
Imagine yourself surrounded by ten or more of your closest pals as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and call?ing Lakshmi Kilaru, Group Sales Coordinator, at 734.763.3100. Don't wait--rally your friends and reserve your seats today!
DISCOUNTED STUDENT TICKETS
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than $1.8 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most impor?tant, impressive and influential artists from around the world. For the 0203 season, stu?dents may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off the published price. This extremely popu?lar event draws hundreds of students every fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
GIFT CERTIFICATES
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a luuisewarming mbM present when new friends move to town.
In an effort to help reduce distracting noises and enhance the theater-going experience, Pfizer Inc is providing compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
THE UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
Bivouac
The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
House
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Gallery
WWW.UMS.ORG
Join the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$avers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
UMSannals
UMS HISTORY
Through an uncompromising commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous and exciting live performing arts world. Over its 124 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a com?mitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts approximately 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, special project support from UM, and endowment income.
UMS CHORAL UNION
Throughout its 124-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Nine years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for subscription performances of Stravinsky's Symphony of Psalms, John Adams's Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms's Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accept?ing invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire.
The Choral Union opened its current season with performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. In December the chorus presented its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work in Michigan Theater. The Choral Union's season will conclude in March with a pair of magnificent French choral works: Honegger's King David, accom?panied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by organist Janice Beck.
The Choral Union's 0102 season includ?ed performances of Messiah, Ives's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra and Brahms's Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union joined the DSO and Neeme Jarvi in three critically acclaimed performances of Beethoven's Missa Solemnis.
During the 20002001 season, the UMS Choral Union appeared in two series with the DSO. The season culminated in a performance of Berlioz's Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the UM School of Music Symphony Band in Hill Auditorium.
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical the?atre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation 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. For more information about membership in the UMS Choral Union, e-mail choralunion@ umich.edu or call 734.763.8997.
VENUESBURTON MEMORIAL TOWER
With the 18-month closing of Hill Auditorium for renovations, the 0203 UMS season will include performances by the world's celebrated music, theater and dance artists in 11 venues in three cities: Ann Arbor, Ypsilanti and Detroit.
Ann Arbor Venues
Hill Auditorium
The 18-month, $38.6-million dollar reno?vation to Hill Auditorium began on May 13, 2002 under the direction of Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will update all of its infrastructure systems and restore much of the interior decor to its original splendor.
Exterior renovations will rebuild brick paving and stone retaining walls, restore the south entrance plaza, rework the west barrier-free ramp and loading dock, and improve the landscaping which surrounds the building.
Interior renovations will create additional restrooms, improve audience circulation by providing elevators, replace main-floor seating to increase patron comfort, introduce barrier-free seating and stage access, replace audio?visual systems, and completely replace all mechanical and electrical infrastructure sys?tems for heating, ventilation, and air condi?tioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity from 4,169 to 3,710.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000, and balcony restorations have been completed.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major
gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splen-
did three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Ypsilanti Venues
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
Built in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000-square-foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the
2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Orchestra Hall
Orchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paradise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, cap?ping a multi-million-dollar restoration effort.
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an $80-million development project on eight acres of land surrounding Orchestra Hall.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the second year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.

? the University of Michigan A 2003 Winter Season
Event Program Book
Saturday, February 15 through Thursday, March 6, 2003
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditori?um. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Dave Holland Quintet and
New York Big Band 5
Saturday, February 15, 8:00 pm Michigan Theater Ann Arbor
Eos Orchestra 9
Sunday, February 16,4:00 pm Michigan Theater Ann Arbor
Vienna Philharmonic 15
Thursday, February 27, 8:00 pm Detroit Opera House Detroit
Alban Berg Quartet 25
Monday, March 3, 8:00 pm Rackham Auditorium Ann Arbor
Stuttgart Chamber Orchestra 31
Thursday, March 6, 8:00 pm Michigan Theater Ann Arbor
Dear U!M8 Matrons,
Welcome to this UMS performance. If you've been attending UMS events for months, years, or even decades, we thank you for your ongoing support. If this is your first UMS event, we hope that it will be the beginning of a long and beautiful relationship, and that you will join us again over the coming months.
In January, I had the opportunity to attend a two-day seminar about dance. As a former oboist and pianist, I have a strong background in classi?cal music but have never felt as confident in my knowledge about dance. When I began at UMS as a work-study student in 1988, my classical music knowledge was sufficient. However, as UMS has expanded its programming over the past decade to include a deep commitment to dance and theater, I wanted to learn more about dance, and, equally important, learn to trust my own instincts about what is "good." I wanted to be able to feel comfort?able talking about dance with the aficionados who attend every performance in the region, and also to make it interesting and enjoyable for those who, like me, have had relatively limited exposure and may even find it intimi?dating.
What I learned most from the seminar can be applied to virtually everything: I need to trust my own instincts. There is no single definition
of "good" when it comes to dance, or any art form for that matter. I can recall any number of occasions where I found a performance particularly moving, only to have friends or co-workers bored to tears by it, or events that I deplored and others thought positively brilliant. While I initially despaired over such different interpretations, I've come to appreciate the ensuing discourse about the art, which has only enriched my performance experience. While my opin?ions may not change, the discussion has allowed me to appreciate performances from a different perspective. I know that sometimes I attend performances seeking sheer entertainment, other times the intellectual engagement of what is happening onstage. A performance can speak to dif-
ferent people in different ways, depending on what the individual concert-goer brings to the performance.
I've also come to realize that although I work for UMS, my experience as a concertgoer is not dissimilar from that of most audience members. When we announce each season, there are many artists whose work I already know, but there are at least as many whom I've never experienced. It's often the artists that I don't know that I'm especially excited about see?ing perform live, and I find that I come away from each performance with something new to consider.
Over the next two months, UMS will be announcing its 0304 season, an ambitious and exciting set of performances in music, dance, and theater. I hope that you will join us for the elements of that season that speak the most strongly to you. And I would also challenge you to try something that's different and bold and daring (for you), something that you're not as comfortable with. And when a friend or neighbor asks, "What did you think" trust your instincts. If you enjoyed it, come back. And if you didn't enjoy it, be honest, but don't be afraid to try again. Some of my most memorable performances are the ones that I went into without quite knowing what to expect.
I look forward to seeing you at more UMS events. Cind regards,
Sara Billmann
UMS Director of Marketing and Communications
UMS Education
UMS Educational Events through Friday, February 28,2003.
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates.
Royal Shakespeare Company The Michigan Residency 2003
The month of February is filled with residency activities surrounding the upcoming theatrical performances by the RSC this March: US exclusive performances of Shakespeare's The Merry Wives of Windsor and Coriolamis, and the US premiere of Salman Rushdie's Midnight's Children.
Please visit www.umich.edupresrsc for a complete listing of the many opportunities to participate from RSC study and book clubs to a series of public lectures and discussions.
The Royal Shakespeare Company residency is presented in association with the University Musical Society and the University of Michigan.
Sponsored in part by Pfizer and the Ford Motor Company Fund.
Additional support is provided by The Power Foundation and the Ford Foundation.
Educational activities are presented with support from the Whitney Fund.
Midnight's Children is presented in associa?tion with Columbia University.
Media sponsor Michigan Radio.
Auditions for Evening at the Apollo
UMS will present two nights of Evening at Apollo as a part of the Apollo Theater Amateur Night On Tour. Contestants will audition and be selected by the Apollo Theater Amateur Night producers. For complete information, contact the UMS Education Department at 734.615.0122 or umsed@umich.edu. Friday, February 21, 2003, 3:00-11:00 pm, Mendelssohn Theatre, 911 N. University Ave., Ann Arbor Saturday, February 22, 2003, 10:00 am-7:00pm, Detroit Opera House, 1526 Broadway, Detroit
UMS
and
TIAA-CREF
present
Dave Holland Quintet
and
New York Big Band
Dave Holland, Bass
Alex Sipiagin, Trumpet Taylor Haskins, Trumpet Duane Eubanks, Trumpet Robin Eubanks Trombone Josh Roseman, Trombone Jon Arons, Trombone
Antonio Hart, Alto Saxophone Mark Gross, Alto Saxophone Chris Potter Tenor Saxophone Gary Smulyan, Baritone Saxophone Steve Nelson Vibraphone, Marimba Billy Kilson Drums
indicates member of Dave Holland Quintet
Program
Saturday Evening, February 15 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain one intermission.
52nd Performance of the 124th Season
Ninth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance by the Dave Holland Quintet and New York Big Band is sponsored by TIAA-CREF Individual and Institutional Services, Inc.
Presented with support from the Wallace-Reader's Digest Funds and from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times.
Presented in conjunction with the 2003 UM Jazz Festival.
Special thanks to Dennis Wilson and the UM Jazz FestivalUM School of Music for their involvement in this residency.
Large print programs are available upon request.
Dave Holland is considered one of the most extraordinary bass play?ers, composers and cellists in con?temporary jazz today. From his early days in London accompanying masters like Coleman Hawkins and Ben Webster, through his work with Miles Davis's trailblazing ensemble of the late 1960s, and his long associations with Sam Rivers in the 1970s and other jazz nota?bles, Mr. Holland has performed with those who occupy the loftiest realms of creativity and acclaim, including Betty Carter, Thelonious Monk, Herbie Hancock, Chick Corea, Anthony Braxton, Jack Dejohnette, Elvin Jones, Roy Haynes, Stan Getz, Pat Metheny, Joe Lovano and Gary Burton.
While focusing on being a leader during the past two decades, Mr. Holland has issued a succession of excellent and critically acclaimed recordings, garnering three Grammy nominations, various jazz awards, and consistent ranking on annual best album lists around the world.
In addition to performing in diverse contexts from solo to quintet, Mr. Holland premiered his Big Band while serving as artist-in-residence at the 2000 Montreal Jazz Festival. Commissioned by the Monterey Jazz Festival, Mr. Holland premiered his first large-scale work with his Big Band in September 2001, which kicked off an extensive US and European Quintet tour promoting his ECM Records release Nor For Nothin'.
In addition to continued Quintet tour?ing, Mr. Holland released the first recording by the Big Band in the summer of 2002. Mr. Holland is also a soloist in classical composer Mark Turnage's Bass Inventions (a concerto for double bass and orchestra), which pre?miered at the Concertgebouw in Amsterdam in May 2001; he continued to tour with the project in February 2002. Following the pre?miere, he toured Europe with SCOLO HOFO, a cooperative ensemble with John Scofield, Joe Lovano and Al Foster.
Mr. Holland is clearly at the forefront of jazz history's most significant and important artists. Voted premiere acoustic bass player in Down Beat magazine's Critics' Poll every year since 1999, he has been similarly hon?ored at the Bell Atlantic and Jazz Journalists Awards, and was named "Musician of the Year" by the Jazz Journalists in 2000. In 2002, he was voted "Jazz Artist of the Year" by Down Beat magazine, sweeping four cate?gories in the Critics' and Readers' Polls: Jazz Artist, Jazz Album (Not for Nothin), Acoustic Jazz Group, and Acoustic Bass the first time a single artist has achieved such recognition in the magazine's history. He also placed in the composer category.
Dedicated to teaching, Mr. Holland has served as artistic director of the summer jazz workshop at the Banff School in Canada for seven years and was a full-time faculty member at Cambridge's prestigious New England Conservatory of Music from 1987-1990. Mr. Holland was also awarded an honorary Doctorate of Music by the Berklee School of Music in 2000.
Born in Wolverhampton, England on October 1, 1946, Mr. Holland was initially self-taught, beginning at the age of four on the ukulele and progressing through guitar, bass guitar and finally the double bass at 15. He left school when he was 15 to pursue a musical career, getting his first double bass job at 17 with a dance band.
Over the next three years, in addition to his studies with James E. Merritt (principal bassist for the London Philharmonic) and a full scholarship at the Guildhall School of Music and Drama, Mr. Holland performed in various settings, covering the gamut of music from early New Orleans to more modern styles.
By 1966 he was playing with London's most innovative artists, including John McLaughlin, John Surman, Kenny Wheeler, Chris McGregor and Evan Parker, taking great inspiration from the era's bass heavy?weights like Jimmy Garrison, Charles Mingus, Scott LaFaro, Ron Carter and Gary Peacock. Similarly influenced by contemporary Western classical composers, especially Bela Bartok, he also performed with chamber orchestras. Playing regularly at Ronnie Scott's, Mr. Holland left for the US in 1968 after Miles Davis heard him play at the famous London club and invited him to join his band. Staying with the ensemble until 1970, he participated in recordings that shook the very foundations of jazz, including Filles de Kilitninjaro, In a Silent Way, and Bitches Brew.
For more than a decade, beginning shortly after his arrival in the US, Mr. Holland played with a steady stream of top names in improvised music. He also maintained a longstanding 10-year association with the composerpianist theoretician Sam Rivers, performing in all contexts from duos to orchestras. It was also during this period that he began a long succession of cooperative endeavors beginning with Circle in 1970 with Chick Corea, Anthony Braxton and Barry Altschul, and continuing with Gateway,
with John Abercrombie and Jack Dejohnette in 1975.
Although Mr. Holland has continued to work consistently with major groups led by Herbie Hancock, Michael Brecker and Joe Henderson, among others, he is primarily committed to focusing on his own ensembles, especially his Quintet, which features saxo?phonist Chris Potter, trombonist Robin Eubanks, vibraphonist Steve Nelson and drummer Billy Kilson; as well as the Octet, which adds trumpeter Kenny Wheeler, alto saxophonist Antonio Hart and baritone sax?ophonist Gary Smulyan.
The Dave Holland Big Band's release, What Goes Around, was recently nominated for a 2003 Grammy Award in the "Best Large Ensemble Jazz Recording" category. Two previous Dave Holland Quintet recordings have also received nominations: Points of View in 1997 and Prime Directive in 1999.
Tonight's performance marks Dave Holland's UMS debut. Tonight also marks the UMS debut performances of both the Dave Holland Quintet and New York Big Band.
UMS
and
CFI Group
present
Eos Orchestra
Jonathan Sheffer, Artistic Director
Program
Aaron Copland Copland Paul Bowles
Bowles Copland
Copland
Sunday Afternoon, February 16 at 4:00 Michigan Theater ? Ann Arbor
Celluloid Copland
Music for Movies
o r
The Cummington Story
o r
Suite for Small Orchestra
o r
Mediodia
"The City" Suite
(with film)
INTERMISSION
Appalachian Spring
(complete ballet, original version)
This afternoon's opening selections will be chosen by
Artistic Director Jonathan Sheffer directly prior to performance.
53rd Performance of the 124th Season
124th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by CFI Group.
The 124th Annual Choral Union Series is sponsored by Forest Health Services.
Additional support provided by media sponsor WGTE 91.3 FM.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The Eos Orchestra appears by arrangement with ICM Artists, Ltd.
Opening film segments courtesy of Vivian Perlis and the Aaron Copland Fund for Music, Inc.
The Eos Orchestra gratefully acknowledges the support of their marquis sponsor BP America, with additional seasonal support from Toray Ultrasuede (America), Inc.
Pre-concert Lounge Music "Eos Remix" created by Sounds From The Ground.
Large print programs are available upon request.
Forest Health Services presents the 124th Annual Choral Union Series.
Celluloid Copland
by Jonathan Sheffer
Aaron Copland
Born November 14, 1900 in Brooklyn,
New York Died December 2, 1990 in North Tarrytown,
New York
Paul Bowles
Born December 30, 1910 in Jamaica,
New York Died November 18, 1999 in Tangier, Morocco
Three years ago, on the 100th anniversary of his birth, a national outpouring of tributes and re-eval?uations reflected the profound and pervasive presence of Aaron Copland's music in our national unconscious. After all, Copland legitimately created the American "sound" almost single-handedly. That a gay, Jewish boy from Brooklyn could go to Paris to study and then come home and compose works that defined a new mainstream by capturing the unique quality of yearning and energy that resonate with our diverse culture is remarkable. Copland's America is the jazz of the city and the sim?plicity of the open prairie; the atonal avant-garde and the farmland all rolled into one. In Copland, astringent modernism and lump-in-the-throat patriotism go hand in hand. Appalachian Spring has the simplicity and sublimity of Mozart; Fanfare For The Common Man has the power of a national anthem. Copland listened to our hymns and cowboy songs and wrote his own, better ones, and took his music to the people for their delight and consumption.
The aim of this tour is to reintroduce some of Aaron Copland's early film music to the public in order to celebrate his importance and valued position as a key architect of the sound of American music. Copland spent the first part of his compos-
ing career advancing the cause of mod?ernism, a style he acquired in his studies in Europe. By the late 1930s he focused his well-honed skills on taking up the challenge represented by Dvorak's presence in America decades earlier, that of melding the ethnic indigenous music of the Americans into his composition. The result of this effort was the nearly wholesale creation of an American sound, one he honed in music for hire before and during World War II. In this way, Copland's contribution to the war effort was an uninterrupted string of fervently American works, culminating in the power?fully expressive masterpieces, Appalachian Spring and Fanfare for the Common Man.
Two works from the late '30s, the ballet Billy The Kid and the concert work El Salon Mexico resound with heroic and straightfor?ward depictions of American music, one from cowboy songs, the other from Latin sources. They also provided his first unqual?ified successes. In Copland's works from this time, perhaps his richest period, it is diffi?cult to discern acquired folk melodies from those he created from whole cloth. He got two assignments to compose music for entertainments produced for the 1939 World's Fair, the puppet show, From Sorcery to Science, and the documentary film, The City. The film was to provide an entree to Hollywood, where Copland composed six scores over a 20-year period.
The 1939 World's Fair may not seem like an ideal place for a composer with seri?ous artistic goals to find work, but to Copland it offered two intriguing commis?sions. The Fair called forth works of a wide variety, all dedicated to selling what looks now like a determinedly positive view of progress in industry and human nature. The Fair's planners selected what we now acknowledge to be the modernist masters of architecture, insisting that the exhibit halls have no windows of any kind, which gave the entire campus a sleek, futuristic look.
Films and live shows needed music to pro?mote their messages. Kay Swift, a dynamic Broadway and Hollywood arranger and composer, was hired to oversee the work of the (recently) late George Gershwin, Copland, Kurt Weill, Hans Eisler, George Antheil, Robert Russell Bennett, Oscar Levant and Arthur Schwartz, among others. Copland's soundtrack for the documentary film The City gives full voice to both his chosen simplicity for an imagined rural American music (which would flower four years later in Appalachian Spring), as well as a spirited, driving evocation of our industri?al, urban landscape. The film, with scenario by the leftist producer Pare Lorentz, extols social engineering in Utopian cities as the cure for the ills of the industrial society. It was an impressive and lavish documentary -though technically crude by Hollywood standards at a time when few such films reached a wide public. Also, this was Copland's first experience putting music to image, a task he completed with remarkable originality. The City was to be his entree to Hollywood, where he had tried unsuccess?fully to find work. Violinist Nathan Milstein showed the film to his cousin, director Lewis Milestone, who was to hire Copland to com?pose the score to Samuel Goldwyn's wartime film, The North Star, but not before he com?pleted some of his best scores, to Of Mice And Men, The Red Pony and Our Town. He would later anthologize some of the most memorable moments from those films in the concert work, Music for Movies.
Copland was a composer who was at once ambitious and eminently practical. He was determined to reach a wide public, both for himself and for the salutary effect of promulgating a distinctly American music. At the same time, he had a disinterested curiosity in all kinds of music, from the eso?teric to the commercial, and he was eager to try his hand at every opportunity that came his way. He used the works heard here as a
kind of laboratory for his concert works: one can hear compositional ideas being worked out that find fuller, more sublime form in later pieces. El Salon Mexico and Billy The Kid directly preceded the World's Fair music and early films; Appalachian Spring, The Lincoln Portrait, and the Clarinet Concerto came after.
Though he clearly understood the demands of film music in terms of support?ing images, it is not surprising to find in his film music the directness and constant orig?inality so characteristic of his greatest works. The Cummington Story was a 20-minute documentary produced in 1944 by the War Department. Its purpose was to encourage local communities to look kindly upon refugees displaced persons caught in the updraft of war. The music underscores with great beauty the small Massachusetts town of the title, the new families' efforts to fit in, find work, join churches and go to a county fair, all in harmony with their New England. The Cummington Story music transforms a modest narrative into a moving meditation on the notion of liberty and community, a message compromised only by the ending of the film, in which the immigrants are essen?tially invited to leave as soon as conditions appear propitious. Regardless of what occa?sioned the music, Copland was able to use the central part of the score in the opening slow movement of the Clarinet Concerto, written for Benny Goodman six years later.
Copland shares the stage on this tour with another American composer, Paul Bowles, whose fame rests not upon his music, but upon his writing, especially the novel, The Sheltering Sky. Bowles, however, thought of himself as a composer before the world recognized him as a novelist. After some desultory musical training, including a peri?od of private lessons with Copland, he spent the first half of his life writing incidental music for the New York theater. After his move to Tangier in 1948, he returned to
New York only once more in his life, to attend a festival of his music by the Eos Orchestra at Lincoln Center.
Outside of his theatrical commissions, Bowles composed a handful of concert pieces and many songs that are his most frequently performed works. The Suite for Small Orchestra was composed after Bowles's studies with Copland, during a year of travel that took him from Algiers to Tunis, Tangier, Cadiz, and Puerto Rico. An abstract work, it was created for no specific performance, predating his long list of theatrical commis?sions. This music delights in transforming North African melodies and Spanish dance rhythms, which emerge in this treatment sounding like a cafe-orchestra on a tour with its wandering composer.
Like Copland, Bowles traveled exten?sively in Latin America. Mediodia (Noonday), performed for the first High-Low Concert, in February 1938 (and sharing the bill with Duke Ellington) was an orchestration of an earlier piano piece, Huapango. Both com?posers took a lot from Mexican rhythms, Bowles here and Copland in El Salon Mexico.
We conclude these concerts with the rarely heard complete ballet, Appalachian Spring, which is Copland's and America's masterpiece. It was written for the choreo?grapher Martha Graham in 1943, and right away became the calling card for both com?poser and choreographer. Both responded to the surge of patriotism during World War II with this inspired work, whose narrative follows the challenges of a 19th-century couple as they start their life together in rural America. The better-known suite from the ballet loses some remarkable passages that are heard here in the original instru?mentation, which was for 13 instruments. We have augmented the string section, something Copland approved of whenever space and budget allowed.
Jonathan Sheffer, a composer and conductor, continues to win acclaim by melding elements of theater and thematic programming into the tra?ditional concert form. The result: the Eos Orchestra, founded eight years ago, thrives today as an innovative musical force, one that successfully breaks down concert-hall barriers through creative methods and collaborations with other artistic disciplines.
Born in New York City, Mr. Sheffer graduated from Harvard University, where he was a student of Leonard Bernstein. He later attended The Juilliard School and the Aspen School of
Music. He began conducting after spending several years composing scores for Hollywood films. After recording three film scores with the Seattle Symphony, he made his conduct?ing debut with the San Diego Symphony
in 1991, and since then has returned three times to lead the Seattle Symphony.
In the 2002 season, Mr. Sheffer made his New York City Opera debut conducting John Philip Sousa's The Glass Blowers. In 2001 he conducted the American Ballet Theatre at the Metropolitan Opera, and the Filarmonica di Roma in Hadrian's Villa, Rome. In 2000 Mr. Sheffer led the Sapporo Symphony at the Pacific Music Festival in Japan, the New World Symphony in Miami, and the United World Philharmonic Youth Orchestra in Bonn. He also conducted the Brooklyn Philharmonic in performances of the Mark Morris Dance Company at BAM in 1997, and in 1996, led the Scottish Chamber Orchestra at the Edinburgh Festival.
A prolific composer, Mr. Sheffer's cata?logue of works include orchestral, solo piano, concertos, musicals, short operas, film scores
and song cycles. His work was the focus of a Guggenheim Works & Process series event in October 1999. His opera, Blood on the Dining Room Floor, from the Gertrude Stein novel of the same name, finished a critically acclaimed Off-Broadway run in May of 2000. The opera received the Richard Rodgers Production Award from the American Academy of Arts and Letters and was given a reading as part of the New York City Opera's showcasing American Composers Program.
Mr. Sheffer was recently appointed as the Music Director of Red {an orchestra}, a new chamber orchestra in Cleveland, which made its debut in the fall of 2002.
This afternoon's performance marks Jonathan Sheffer's UMS debut.
Entering its eighth season under the baton of Artistic Director Jonathan Sheffer, the Eos Orchestra is setting new standards for imaginative musi?cal programming. The Orchestra focuses on the rediscovery of important neglected works and composers, collabora?tion with other artistic disciplines and the use of visual and theatrical elements on the concert stage.
Eos' annual subscription series runs from February to May at the Concert Hall at New York's Ethical Culture Society. These often sold-out events bring audiences a new way to see music.
In addition to the subscription season, the Orchestra has appeared at the Lincoln Center Festival, Chicago's Ravinia Festival, Boston's Sanders Theatre, the Guggenheim Museum, the 92nd Street Y, the John F. Kennedy Center for the Performing Arts in Washington, DC, and free public outdoor concerts at the former World Trade Center, among others. In 1998, Eos performed at
the White House for the President and First Lady at the ceremony for the National Medal of Arts and Humanities Awards, and received the Japan Music Award, presented by Julie Taymor, for its educational programs. In the fall of 2002, Eos made its Brooklyn Academy of Music debut, performing a new Philip Glass opera, Galileo Galilei, and its Metro?politan Museum of Art debut with a holiday concert.
Eos' discography of five compact discs includes 2002's Grammy nominated CD, Celluloid Copland, which features world pre?miere recordings of Aaron Copland's film music. Eos has also published four books of essays and images on musical topics.
The Orchestra's television appearances include an A&E Biography of Ludwig van Beethoven and a PBS broadcast of WNEI7 Channel Thirteen's Great Performances tele?vision special, Copland's America, which was also broadcast by the BBC. Eos can be heard regularly on National Public Radio's Performance Today in the US and on public radio in Europe.
This afternoon's performance marks the Eos Orchestra's UMS debut.
Eos Orchestra
Jonathan Sheffer, Music Director and Conductor
Ken Selden, Assistant Conductor Sebastian Currier, Composer-in-Residence
Violin
Cenovia Cummins,
Concertmaster Patricia Davis Sebu Sirinian John Kelly Andersen Lisa Tipton
Robert Zubrycki, Principal Martha Brody Philip Wharton Robert Norman
Viola
Adria Benjamin, Principal Shelley Holland-Moritz Richard Brice
Cello
Roger Shell, Principal Joseph Kimura
Bass
Judith Sugarman, Principal
FlutePiccolo
Robert Bush, Principal
OboeEnglish Horn
Marilyn Coyne, Principal
Clarinet
Dean LeBlanc, Principal Amy Zoloto
Bass Clarinet
Lino Gomez, Principal Amy Zoloto
FluteAlto Saxophone Bass Clarinet
Lino Gomez, Principal
Bassoon
Marc Goldberg, Principal
Horn
Katharine Dennis, Principal Nancy Billmann
Trumpet
John Sheppard, Principal Charles Olsen
Trombone
Michael Seltzer, Principal
Percussion
James Baker, Principal Charles Descarfino
Piano
Elizabeth Wright, Principal
Orchestra Personnel Manager
Adria Benjamin
Orchestra Librarian
Philip Wharton
Eos Orchestra Staff Stephen Vann, Executive Director Lee Ellen Hveem, Director
of Operations & Education Lori Sherman, Director
of Development Bernard Rashbaum, Director
of Finance cAdministration Curtis Dunn. Technical Director Maricha Miles, Marketing &
Events Coordinator
Greg Pierson, Operations and
Education Associate Timothy Cartin Gyves,
Development Coordinator Beth Cheikes, Assistant
to the Executive Director Mickie DeSimone, Special Projects
Coordinator Kristen Houkom, Intern
UMS
presents
Vienna Philharmonic
Nikolaus Harnoncourt, Conductor
Program
Franz Schubert
Antonin Dvorak
Thursday Evening, February 27 at 8:00 Detroit Opera House Detroit
Symphony No. 4 in c minor, D 417
Adagio molto Allegro vivace
Andante
Menuetto: Allegro vivace
Allegro
INTERMISSION
Symphony No. 9 in e minor. Op. 95
Adagio Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
54th Performance of the 124th Season
124th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is co-presented with the University of Michigan as part of a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the performing arts.
The 124th Annual Choral Union Series is sponsored by Forest Health Services. Additional support provided by media sponsor WGTE 91.3 FM.
Large print programs are available upon request.
Forest Health Services presents the 124th Annual Choral Union Series.
Symphony No. 4 in c minor, D 417
Franz Schubert
Born January 31, 1797 in Himmelpfortgrund,
nr. Vienna Died November 19, 1828 in Vienna
Tonight marks the second UMS performance of Schubert's Symphony No. 4. The Los Angeles Philharmonic gave the UMS premiere of the piece in December 1982.
Even though Schubert himself appended the subtitle "Tragic" to his Symphony No. 4, we should not expect tragedy on the scale of Beethoven's Symphony No. 5, or even on the scale of Schubert's own song "Erlkonig," written a year before Symphony No. 4. As a writer of orchestral works, the 19-year-old Schubert was not yet ready to take on the challenge of Beethoven's heroic style; but he spoke the language of Haydn, Mozart and early Beethoven as his mother tongue and it was to that style to which he was making some highly individual and mature contributions.
The overwhelming majority of 18th-century symphonies were written in the major mode, which was traditionally associ?ated with bright and exuberant feelings. On the rare occasions when composers chose a minor key, the mood tended to darken and become more agitated. When this manner of writing first appeared in the 1770s, it seemed to parallel the Sturm und Drang, a literary movement in Germany that favored tragic moods and paved the way for Romanticism. It was almost inevitable that Schubert should try his hand at the "tragic" genre established by his predecessors. Schubert's Symphony No. 4 is similar to the minor-key symphonies of Haydn and Mozart in its exceptional emotional intensity, unmatched in his oeuvre until the "Unfinished" (which, significantly, is also in a minor key).
In their minor-key works, Haydn and Mozart often engaged in harmonic adven?tures not seen when the tonality is major. The young Schubert, well aware that in the minor, business is never as usual, wrote one of his most complex and profound adagio introductions to date. (It has been compared to the "Chaos" Prelude from Haydn's oratorio The Creation and to the opening of Mozart's "Dissonant" String Quartet, K. 465). Frequent key changes take the music as far from the initial c minor as the Classical tonal system allows (reaching the remotest point with a long-held G-flat-Major chord). Upon a no less eventful return to c minor, the "Allegro vivace" begins. It is a stormy movement with a theme of great urgency and a contrasting lyrical second theme. The harmonic experiment continues: instead of gradually modulating, Schubert "jumps," at one point, from A-flat to E and C and then back to A-flat. It was probably the first time ever that the octave (A-flat to A-flat) was divided like this into three equal major thirds a symmetrical division that cuts across different tonalities. This simple idea had enormous implications for the evolu?tion of harmony in the 19th century. The accumulated harmonic tensions are finally resolved at the end of the movement when the tonality changes to the major. Usually, composers of minor-key symphonies save this particular move for their last move?ments, but Schubert evidently couldn't wait that long to introduce a powerful contrast between high drama and joyful celebration.
The second movement, "Andante," opens with a gentle major-key melody played by the strings, soon followed by an agitated passage in the minor mode. Schubert's model here seems to have been the second movement of Mozart's Symphony No. 39, built on a similar thematic contrast. In his biography of Mozart, Maynard Solomon found a particularly apt name for lyrical slow movements with dramatic middle
sections: "Trouble in Paradise." As in the Mozart, the "trouble" goes away at the end of the movement, and peace and order are restored in "paradise."
The third movement follows the out?lines of a scherzo, but the mood, instead of being playful, reverts to the Sturm urtd Drang world of the first movement, with some angular melodic motion emphasizing chromatic harmonies (which tend to desta?bilize the feeling of tonality). The Trio (middle section) brings temporary relief from the tensions, but even here the unusual key changes bespeak a certain sense of restlessness.
In the last movement, Schubert intro?duces a "dark" c-minor theme and treats it with inimitable grace. In the second theme, first violins and clarinets alternate to the lively accompaniment of second violins and violas, with persistent single notes thrown in by the first horn, to a splendidly humorous effect. The final switch to the major mode occurs sooner than it did in the first move?ment; although traces of the "dark" minor mode persist to the very end, the closing section is happy and buoyant. Whatever "tragedy" there was at the beginning has surely been overcome by now.
Symphony No. 9 in e minor. Op. 95
Antonin Dvorak
Born September 8, 1841 in Nelahozeves,
Czechoslovakia Died May 1, 1904 in Prague
Tonight marks the ninth VMS performance of Dvorak's Symphony No. 9. The Boston Festival Orchestra gave the UMS premiere of the piece during the 1901 May Festival.
The credit for bringing Dvorak to the US belongs to Jeanette M. Thurber (1850-1946), wife of a wealthy New York businessman.
Mrs. Thurber was a dedicated philanthropist to whom the musical life of this country has always owed so much. In 1885-86, she found?ed both the National Conservatory of Music and the American Opera Company. One of her greatest achievements was a scholarship program for minority students, which enabled many Blacks and Native Americans to become professional musicians. Another was to persuade Antonin Dvorak to come to the US from his native Bohemia and become the director of the Conservatory in 1892.
After a long round of negotiations, Dvorak arrived in the US on September 27, 1892, aboard the S.S. Saale, for what would be a stay of three years. He was accompanied by his wife, two of his six children, and a secretary. His work at the Conservatory was not very hard. He had to teach composition three mornings a week and conduct the stu?dent orchestra on two afternoons. This schedule left him enough time for conduct?ing at public concerts as well as composing.
Mrs. Thurber later claimed it was at her suggestion that Dvorak first started to work on his Symphony No. 9. As she recollected,
He used to be particularly homesick on steamer days when he read the shipping news in the Herald.1 Thoughts of home often moved him to tears. On one of these days I suggested that he write a symphony embodying his experiences and feelings in America a suggestion which he promptly adopted.
This prompting would hardly have suf?ficed, had Dvorak himself not felt ready to "embark" on a new symphony. But embark he did, and when the score was finished the next spring, he made the following inscrip?tion on the last page of the manuscript: "Praise God! Completed 24th May 1893 at
Dvof ak had a passion for trains and ships all his life. In Nor York, he spent a great deal of time at the harbor watching ships arrive and depart, and convening with the captains. When reading the newspaper, be paid particular attention to notices about the arrivals and departures of transAtlantic ships.
9 o'clock in the morning. The children have arrived at Southampton (a cable came at 1:33 pm)." The four children Dvorak had left behind joined their parents in New York a few days later. Thus, both the beginning and the end of this symphony's composition seem to be connected to the ships' leaving and arriving.
Much ink has been spilled over the question as to whether Symphony No. 9 incorporates any melodies Dvorak heard in the US, and whether the symphony is "American" or "Czech" in character. Dvorak's interest in both Negro spirituals and American Indian music was evident, but he actually knew very little about the latter and, as far as the former was concerned, relied mainly on a single source of information. Harry T. Burleigh, an African-American student at the Conservatory, who later became a noted composer and singer, performed many spir?ituals (and also Stephen Foster songs) for Dvorak. The composer was impressed, but his knowledge of American musical traditions remained limited. The composer did not claim to have used any original melodies, trying instead to "reproduce their spirit," as he put it in an interview published three days before the symphony's premiere.
We will understand what Dvorak meant by this if we compare the famous English horn solo from the symphony's slow move?ment with the spiritual "Steal Away," which
was probably among the songs Dvorak had heard from Burleigh. Many years later, H.C. CoUes asked Burleigh to sing to him the songs he had sung to Dvorak, and noted that "the sound of the English horn resembled quite closely the quality of Burleigh's voice."
Both melodies share the same rhythmic patterns and the same pentatonic scale. It is no wonder that Dvorak's melody was sub?sequently adopted as a spiritual in its own right under the title "Goin' Home," with words by one of Dvorak's New York students, William Arms Fisher. Several other melodies in the symphony have similar songlike shapes, suggesting folk inspiration. One instance where a possible model has been identified is the first movement's second theme, which is strongly reminiscent of the spiritual "Swing Low, Sweet Chariot."
A further link between Symphony No. 9 and the New World has to do with an aborted opera project based on The Song of Hiawatha. It was another one of Mrs. Thurber's sug?gestions that Dvorak write an opera on Longfellow's poem, with which he had long been familiar, having read it in Czech trans?lation 30 years before. The opera never quite got off the ground, but according to musi?cologist Michael Beckerman the slow movement was conceived with Minnehaha's Forest Funeral from Hiawatha in mind.
Additionally, the "Scherzo" was inspired by the dance of Pau-Puk-Keewis (for this, we have Dvorak's own testimony from an interview).
The origins and the meaning of Dvorak's themes are certainly not the only interesting aspects of this symphony. After all, beautiful melodies alone, whatever their provenance may be, do not a symphony make. In his Symphony No. 9, Dvorak proved not only his supreme melodic gifts, but also his mastery in organizing his melodies into coherent and well-balanced musical structures.
The opening horn theme of the first movement, "Allegro molto," already hinted at in the preceding slow introduction, serves as a unifying gesture that returns in each of the symphony's movements. In the second movement, "Largo," it appears at the climac?tic point in the faster middle section, shortly before the return of the English horn solo. In the "Scherzo," it is heard between the scherzo proper and the Trio; this time, the energetic brass theme is transformed into a lyrical melody played by the cellos and the violas. Between the Trio and the recapitula?tion of the scherzo, the theme resumes its original character. The same melody can also be found in the finale shortly before the end, in a coda that incorporates quotations from the second and third movements as well. The ending of the symphony, then, combines the main themes from all four movements in a magnificent synthesis.
Program notes by Peter Laki.
Nikolaus Harnoncourt was born in Berlin, raised in Graz, Austria and studied the cello in Vienna, where from 1952 to 1969 he was cellist with the Vienna Symphony Orchestra. In 1972, he became Professor for Performance Practice at the Salzburg Mozarteum, a position he held until 1993.
In 1953, Mr. Harnoncourt and his wife, Alice Harnoncourt, founded the Concentus Musicus Wien as a specialist ensemble for the performance of early music on authentic instruments. By 1957, he was giving regular concerts with the group.
Since 1970, Nikolaus Harnoncourt has worked as a conductor both in the opera house (he has appeared in Milan, Zurich, Amsterdam, Hamburg, Frankfurt and Vienna) and in the concert hall, where he has worked with the great European orches?tras, including the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Vienna Symphony, London Philharmonia, and the Chamber Orchestra of Europe. He frequently collaborates with many of the world's most renowned soloists, including Martha Argerich, Gidon Kremer, Thomas Hampson, Dawn Upshaw, Cecilia Bartoli and Peter Seiffert. Highlights of his career have included productions of operas by Monteverdi and Mozart at the Zurich Opera in stagings by Jean-Pierre Ponnelle and Jurgen Flimm, performances of Mozart, Haydn and Schubert with the Royal Concert?gebouw Orchestra, and Beethoven cycles with the Chamber Orchestra of Europe.
Mr. Harnoncourt's recording activities have expanded since 1970 to include operas, oratorios and symphonic works of the 18th and 19th centuries. He has performed and recorded the late symphonies of Mozart and Haydn, Beethoven's complete symphonies and Violin Concerto, Schubert's and Schumann's complete symphonies, as well as Schumann's piano and violin concertos. The complete Brahms symphonies, the Violin Concerto and the Double Concerto were released in 1997. Mr. Harnoncourt is in the process of completing a Mozart sym?phonies cycle, several recordings of which were released in 1998 and 1999, as were Mozart's complete Sacred Works. In 1999, his 70th birthday was marked by Teldec's release of a 10-CD all-Beethoven boxed set
containing the nine symphonies, overtures, Violin Concerto, the Missa solemnis and the Romances for Violin and Orchestra.
Nikolaus Harnoncourt conducted the Vienna Philharmonic's 2001 New Year's Concert to rave reviews internationally. The live concert reached a television audience of millions worldwide and the Teldec CD, issued just one week later, has sold upwards of 200,000 copies to date. Harnoncourt has accepted the orchestra's invitation to conduct its New Year's Concert again in 2003.
February 2002 marked the audio-DVD release of Mr. Harnoncourt's Grammy award-winning recording of Bach's St. Matthew Passion with Concentus Musicus Wien. CD releases for 2002 included Smetana's Ma Vlast with the Vienna Philharmonic and three discs with the Chamber Orchestra of Europe: Dvorak 's Slavonic Dances, Op. 46 and 72, Beethoven's Piano Concertos Nos. 1 and 2, with Pierre-Laurent Aimard, and Harnon?court's first Bartok recording {Divertimento for String Orchestra and Music for Strings, Percussion and Celesta). Projected releases with Concentus Musicus Wien include a HaydnMozart vocal disc with Cecilia Bartoli, the final disc in a cycle of early Mozart Symphonies (KV 19a, 22,45a, 45b, 121 and 196) and a 10-CD set of the complete early symphonies of Mozart.
Nikolaus Harnoncourt's outstanding achievements have been recognized with numerous awards: the Ernst von Siemens Music Prize (1974), the Erasmus Prize (1980), the Hans Georg Nageli Medal of the City of Zurich (1982) and the Joseph Marx Music Prize of the Province of Styria (1982). In 1983, he was appointed a member of the Royal Swedish Academy of Music in Stockholm. In 1985, he received the Golden Honorary Emblem of the German Record
Critics for his services to Early Music. In 1987, he received an honorary doc?torate from the University of Edinburgh. His recordings of Beethoven's Missa solemnis
and Symphonies Nos. 1-9 with the Chamber Orchestra of Europe and the Arnold Schoenberg Choir received numerous dis?tinctions, including the German Record Critics' Prize and Gramophone magazine's "Record of the Year" award. In 1994, Mr. Harnoncourt was awarded the prestigious Polar Music Prize. More recently, his record?ing of Bach's St. Matthew Passion won the 2002 Grammy award for "Best Choral Performance" and Belgium's Caecilia Prize. In May 2002, Mr. Harnoncourt received the Ernst von Siemens Prize for Lifetime Achievement.
An exclusive Teldec recording artist for over 35 years, Mr. Harnoncourt made his first recordings with what was then Telefunken in 1963. Since then he has made several hundred recordings during a career spanning several decades that has been charted in numerous television documen?taries and three full-length books. The Residenz Verlag, Salzburg, published an authorized biography of Nikolaus Harnoncourt by music journalist Monika Mertl in 1999.
In June 2000, Nikolaus Harnoncourt signed a lifetime contract with Teldec.
Tonight's performance marks Nikolaus Harnoncourt's UMS debut.
Until the first Philharmonic con?cert on March 28, 1842 more than a half-century after Mozart's death and fifteen years after Beethoven's the city which had given its name to the "Viennese Classicists" Haydn, Mozart, and Beethoven had no per?manent professional orchestra. The demand for symphonic performances was filled by ensembles partly made up of dilettantes, and had one of two reasons for existence: either for performances by soloists and com?posers desiring to present their works to the public, or for benefit concerts. At that time, orchestras composed solely of professional musicians could be found only in theaters. One of these had already been heard in con?certs at the end of the 18th century during Lent of 1785, Wolfgang Amadeus Mozart engaged the Viennese Court Opera Orchestra for a cycle of six concerts in the "Mehlgrube" Hall. For his Academy concert of April 2, 1800, Ludwig van Beethoven also employed the ensemble to premiere his Symphony No. 1. Years later, on May 7, 1824, the orchestra of the Society of the Friends of Music (com?posed, that is, of dilettantes), along with the Court Opera Orchestra, augmented by the Court Music Ensemble, played the first per?formance of Beethoven's Symphony No. 9. Nevertheless, it would still take several years before Vienna's most prestigious ensem?ble would appear as the main attraction on symphony concerts. Franz Lachner, the Bavarian composer and conductor at the Court Opera Theater, performed Beethoven symphonies between acts of ballets and dreamt of establishing an "Artists Society" whose sole focus would be orchestral works. t Such experimental programming was the first step in elevating symphonic works in concert programs.
In 1841, Otto Nicolai, who would later gain international recognition as the com?poser of the comic opera The Merry Wives of Windsor, was called to the post of Principal
Conductor of the Kamtnertor Theater. At the urging of Vienna's musical cognoscenti, he took up Lachner's idea, and on March 28, 1842, led a "Grand Concert" in the main auditorium of Redouten Hall, organized by the Royal Imperial Court Opera Theater. Originally titled the "Philharmonic Academy," this ensemble marked the birth of the Vienna Philharmonic, an occasion when all the principles of the "Philharmonic Idea," still valid today were realized for the first time:
only a musician engaged by the Vienna State Opera can be a member of the Vienna Philharmonic;
the orchestra is founded on artistic, organiza?tional, and financial self-responsibility;
all decisions are to be made democratically by the main body of active members;
actual administrative work will be carried out by a democratically elected 12-member committee.
Despite the tally of 11 successful concerts under Nicolai's direction, the collaboration between this brilliant but authoritarian artist and the orchestra was overshadowed by disagreements. When Nicolai left Vienna for good in 1847, the young enterprise, sud?denly bereft of artistic and administrative direction, all but collapsed.
Finally, after 12 years of stagnation, during which the demoralized ensemble ventured only ten events on its own, the long-awaited turning point was reached in 1860, when the first of four subscription concerts was given under the baton of the former Opera Director, Carl Eckert.
Since then, the "Philharmonic Concerts" have continued without break. The only significant change in all those years was to switch from having one conductor for a complete season of subscription concerts to the present system of having various guest conductors within a season, as the following chronology demonstrates:
i860
1860-1875
1875-1882
1882-1883
1883-1898
1898-1901
1901-1903
1903-1908
1908-1927
1927-1930
1930-1933
Carl Eckert Otto Dessoff Hans Richter Wilhelm Jahn Hans Richter Gustav Mahler Joseph Hellmesberger Jr. Guest conductors Felix von Weingartner Wilhelm Furtwangler Clemens Krauss Guest conductors
Under Otto Dessoff's leadership, the reper?toire was significantly enlarged, and the orchestra's music archives and bylaws were organized as the ensemble moved to its new home. The 187071 season saw the Philharmonic performing in the newly built Goldener Saal in the Musikverein building in Vienna, which has proved to be the ideal venue, with its acoustical characteristics influencing the orchestra's style and sound. It was under Hans Richter's leadership that this incomparable orchestra arrived at world-caliber status the legendary Richter, had already championed some of the most formidable repertoire of the day, including the first performance of Wagner's tetralogy, The Ring of the Nibelung at Bayreuth. The Philharmonic also hosted guest performances by renowned soloists and conductors such as Wagner, Mahler, Verdi, Brahms, and Liszt. The Philharmonic's close relationship to Richard Strauss, of course, is of great histor?ical importance, and represents one of the many high points in the rich history of the orchestra. "The Golden Age," which Richter's tenure has come to be called, saw the world premieres of Brahms's Symphony Nos. 2 and 3 as well as Bruckner's Symphony No. 8.
Tonight's performance marks the Vienna Philharmonic's ninth appearance under UMS auspices. The orchestra made its UMS debut in November 1956 under the baton of Maestro Andre Cluytens. The Vienna Philharmonic last appeared under UMS auspices in a gala benefit concert held in honor of Leonard Bernstein's 70th Birthday Year and Hill Auditorium's 75th Anniversary. The gala concert was held on October 29, 1988 in Hill Auditorium under the baton of Maestro Bernstein.
Biography by Dr. Clemens Hellsberg.
Vienna Philharmonic Orchestra
Nikolaus Harnoncourt, Conductor
Concertmasters
Rainer Kiichl Werner Hink Rainer Honeck Daniel Gaede
First Violin
Volkhard Steude Anton Straka Eckhard Seifert Hubert Kroisamer Josef Hell Jun Keller Georg Bedry Helmuth Puffier Herbert Friihauf Peter Gotzel Gerhard Libensky Herbert Linke Manfred Kuhn Giinter Seifert Wolfgang Brand Clemens Hellsberg Erich Schagerl Bernhard Biberauer Martin Kubik Milan Setena Martin Zalodek Daniel Froschauer Wilfried Hedenborg Kirill Kobantchenko
Second Violin
Peter Wachter Raimund Lissy Tibor Kovac Gerald Schubert Rene Staar
Hans Wolfgang Weihs Ortwin Ottmaier Heinz Hanke Alfons Egger Gerhard David Helmut Zehetner George Fritthum Alexander Steinberger Harald Krumpock Michal Kostka Benedict Lea Marian Lesko Tomas Vinklat Johannes Kostner Martin Klimek
Viola
Heinrich Koll Tobias Lea Christian Frohn Klaus Peisteiner Peter Pecha Wolf-Dieter Rath Walter Blovsky Erhard Litschauer Gottfried Martin Edward Kudlak Hans P. Ochsenhofer Mario Karwan Martin Lemberg Elmar Landerer Robert Bauerstatter Ursula Plaichinger Innokenti Grabko
Violoncello
Wolfgang Herzer Franz Bartolomey Tamas Varga Friedrich Dolezal Raphael Flieder Werner Resel Reinhard Repp Dietfried Gurtler Gerhard Kaufmann Jorgen Fog Gerhard Iberer Csaba Bornemisza Robert Nagy Wolfgang Hartel
Bass
Alois Posch Herbert Mayr Michael Bladerer Wolfgang Gurtler Gerhard Formanek Milan Sagat Rudolf Degen Richard Heintzinger Alexander Matschinegg Timothy Dunin Georg Straka Bartosz Sikorski Manfred Hecking
Harp
Xavier de Maistre Charlotte Balzereit
Flute
Wolfgang Schulz Meinhart Niedermayr Dieter Flury Rudolf Nekvasil Giinter Federsel Giinter Voglmayr
Oboe
Gottfried Boisits Martin Gabriel Giinter Lorenz Walter Lehmayer Alexander Ohlberger Clemens Horak
Clarinet
Peter Schmidl Ernst Ottensamer Norbert Taubl Horst Hajek Johann Hindler
Bassoon
Michael Werba Stepan Turnovsky Harald Miiller Reinhard Ohlberger Wolfgang Koblitz Benedikt Dinkhauser
Horn
Wolfgang Tombock Jr. Ronald Janezic Lars Michael Stransky Volker Altmann Willibald Janezic Giinter Hogner Wolfgang Vladar Roland Horvath Friedrich Pfeiffer Thomas Jobstl Sebastian Mayr
Trumpet
Hans Peter Schuh Gotthard Eder Walter Singer Josef Pomberger Reinhold Ambros
Trombone
Gabriel Madas William McElheney Karl Jeitler Johann Strocker Dietmar Kiiblbock Ian Leslie Bousfield
Tuba
Paul Halwax
Percussion
Roland Altmann Bruno Hard Anton Mittermayr Wolfgang Schuster Kurt Prihoda Franz Zamazal Klaus Zauner
'Newly engaged members of the Vienna State Opera Orchestra who do not yet belong to the association of the Vienna Philharmonic.
Tour Direction
Harold Clarkson and Emma-Jane Stokely, creative partners in music.america
Tour Managers Konstantin Moritsch Ann M. P. Woodruff
Travel Arrangements
Ken Grundy, Maestro Travel
& Touring, North
America-Europe
UMS
and
Bank of Ann Arbor
present
Alban Berg Quartet
Gunter Pichler, Violin Gerhard Schulz, Violin Thomas Kakuska, Viola Valentin Erben, Cello
Program
Alfred Schnittke
Ludwig van Beethoven
Monday Evening, March 3 at 8:00 Rackham Auditorium Ann Arbor
String Quartet No. 4
(Dedicated to the Alban Berg Quartet)
Lento
Allegro
Lento
Vivace
Lento
INTERMISSION
Quartet in c-sharp minor, Op. 131
Adagio: ma non troppo e molto espressivo
Allegro molto vivace
Allegro moderato
Andante: ma non troppo e molto cantabile
Presto
Adagio quasi un poco andante
Allegro
55th Performance of the 124th Season
40th Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank of Ann Arbor.
Additional support provided by media sponsor WGTE 91.3 FM.
The Alban Berg Quartet appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
String Quartet No. 4
Alfred Schnittke
Born November 24, 1934 in Engles,
near Saratov, Russia Died 1998 in Hamburg, Germany
"The Vertiginous Fourth Quartet" begins the entry for the letter V in Solomon Volkov's "ABCs of Schnittke," a deeply personal mem?oir about the Russian-German master whose place has long been confirmed among the greatest composers of his generation. The adjective was well chosen. The last and also by far the longest of Schnittke's quartets, String Quartet No. 4 reaches truly dizzying heights of musical expression. The work is filled with the ethos of the "Late Quartet" in the true sense of Beethoven and Shostakovich: it is a serious and complex work that reaches out directly for the universals. But Beethoven's optimistic conclusions were not granted to Schnittke. The sick man does not recover and offer thanks to God for his healing, nor does he feel "new strength," as does the imaginary hero of Beethoven's Op. 132. There is no hard-won but ultimately positive decision made as in Op. 135. Beethoven's Op. 131, heard in the second half of this evening's concert, ends on a vigorously dra?matic, if by no means happy, note; but even that defiant victory is beyond reach here. The spirit of Shostakovich's late quartets, with their dark and unrelenting sense of tragedy, is much closer to Schnittke, who, since relatively early in his career, was often called the heir of Shostakovich. The two composers were not particularly close per?sonally, and on the surface at least, Schnittke's music sounds nothing like his older col?league's. Yet in his String Quartet No. 3 (1983), Schnittke quoted explicitly from Shostakovich (and also from Beethoven), acknowledging this extraordinary artistic lineage.
There are no such quotes in String Quartet No. 4, yet it was perhaps in that work that Schnittke fully accepted the mantle of Shostakovich. Four years before writing this work, the composer had suffered his first stroke (three more were to follow). For the rest of his life, death could never be far from his mind, no more than it could be for Shostakovich, also gravely ill in his final years. No wonder if, to quote Volkov again, the quartet "brings with it neither peace nor harmony. Instead, all of the accumulated contradictions, sorrows, and problems are once again tied into an intellectual knot."
The 40-minute quartet is very tightly constructed, though its unfolding is slow. There are five movements slow-fast-slow-fast-slow; the first three are played without pause. Certain ideas and motifs run through the entire work. The hesitant melodic frag?ments of the cello that open the work also return at the very end, there played by the entire quartet. Equally if not more impor?tant is the quarter-tone trill that appears in the viola about half-way through the first movement and then erupts, fortissimo, in the first violin not long afterwards. This cri?sis soon subsides, but a new drama begins in the "Allegro," an impulsive movement hov?ering between outbursts of despair and expressions of quiet grief.
The central movement paints a desolate landscape dominated by the hestiant melody and the slow quarter-tone trills from the first movement. A shorter "Vivace" follows, with a more regular rhythmic flow than in the second movement; the steady pulse vaguely suggests a dance or a scherzo but the mood remains grave and intense. Harsh repeated chords and agitated pizzicatos enliven the texture, in utter contrast to the fifth move?ment, which begins with large passionate gestures, only to collapse into despair once more as the motifs of the first movement return for the last time.
Schnittke wrote his String Quartet No. 4 for the Alban Berg Quartet, which gave the first performance in Vienna on January 14, 1989 and subsequently recorded it for EMI.
Program note by Peter Laki.
Quartet in c-sharp minor. Op. 131
Ludwig van Beethoven
Born December 16, 1770 in Bonn Died March 26, 1827 in Vienna
Mahler believed that the symphony should "embrace everything," but Beethoven proved with his String Quartet in c-sharp minor, Op. 131, that this intimate chamber genre could also encompass a world of expressive possibilities. Written between November 1825 and July 1826, the Quartet in c-sharp minor is surely one of the most heterogeneous collections of movements to be gathered under a single title. Beethoven joked to his publisher that it was nothing more than a series of odds and ends left over from other works (later assuring him that it was indeed "all new"). The work has seven movements including a fugue, theme and variations, and a sonata-allegro and no less than 20 tempo changes (not including ritardandos and a tempi). But his Op. 131 is also perhaps the most deeply integrated quartet Beethoven ever composed.
Beethoven entirely abandons the tradi?tional movement structure in this quartet. The format more closely resembles an 18th-century divertimento in its succession of disparate movements. But while the first and last movements are the only ones in the tonic key, the harmonic scheme for the quartet is derived from an over-arching cadential progression that leads inexorably to the finale. The succession of movement types, linked without a break, also throws
the work's formal weight onto the final sonata-allegro. Like Symphony No. 9, it is a finale-based composition.
The "Adagio" fugue that opens Op. 131 is the first opening slow movement Beethoven composed since the "Moonlight" Piano Sonata some 25 years earlier. As the "Moonlight" Sonata is also the only other work he wrote in c-sharp minor, it seems Beethoven associ?ated this key with a certain brooding, myste?rious quality. But the home key is barely established before wide-ranging modulations move through four changes of key signature in the movement. Wagner may have been overstating the case somewhat when he called this fugue "the saddest thing ever said in notes." Daniel Gregory Mason's descrip?tion of it as a "peculiar blend of passion with patience" is perhaps closer to the mark.
The fugue ends on octave C-sharps, which then shift up a half-step to D for the second movement, a gentle scherzo in a highly compressed sonata form that is as cheerful as the fugue was grave. The main theme is unselfconsciously naive, and there is hardly any second theme to speak of. Just as the new key area is established, the reca?pitulation makes its surprisingly eager entry, with a slightly extended coda compensating for the intrusion.
Though numbered separately in Beethoven's manuscript, the third movement is little more than a brief, declamatory inter?lude in recitative style. The set of variations that follow manifests yet again the compos?er's late-style fascination with variation forms. This central movement is a moment of repose in which both form and harmony are stable; there are no surprises here. The A-Major theme, with pizzicato cello and sus?tained viola, exudes warmth and depth, while a rest on the first beat creates a mild ambiguity of meter. The remainder of the movement consists of six double variations (with the repeats written out in full and
slightly varied). The first four are decorative. Variation five, however, reduces the theme to its essence; Vincent d'Indy described it as "almost silence." The sixth and final varia?tion is halting and anxious. What begins as a seventh devolves into a series of trills that then develops into a lengthy coda. The last measures were particularly troublesome for Beethoven; in his notebooks he modified the final four measures fifteen times, and the final published version was different again.
The "Presto" in E Major is decidedly more high-spirited than the second move?ment, with a madcap humor that is perhaps even a little vulgar (at least in the original sense). It goes to the trio section twice, but on the third attempt, the scherzo and Trio collide head on, and both are momentarily disoriented. The strings play the main theme sul ponticello (the only time Beethoven used this technique), producing a thin, high-pitched effect that is outrageously comic.
The brief "Adagio" in G-sharp Major, possibly based on an old French song, func?tions as an extended dominant preparation for the final sonata-allegro movement, the end-goal of the entire work. Joseph Kerman writes of the finale, "It crowns the composi?tion in practically every way: in force of expression, intellectual intensity, breadth of action, and integrative power over the com?position as a whole." It begins with a theme whose notes are almost identical to the main theme from Bach's Musical Offering (also in c-sharp minor), while the contrasting theme alludes explicitly to the first movement. The development and recapitulation are both rather terse, emphasizing the laconic nature of the themes themselves. Though the quar?tet ends on a tonic major chord, Donald Tovey describes the coda as "unsurpassed anywhere in Beethoven for tragic power."
An often-repeated anecdote claims that Beethoven was once asked which of his
compositions he liked the best. Though reluctant to single one out above the rest, he reportedly replied that of all his works, this quartet was his favorite.
Program note by Luke Howard.
For more than 30 years the Alban Berg Quartet has performed regu?larly in music capitals and major festivals throughout the world. The Quartet has its own concert series at the Vienna Konzerthaus (where it debuted in 1971 and is now an Honorary Member), Royal Festival Hall in London, (where it is an Associate Artist), and at the Opera Zurich, the Theatre des Champs-Elysees in Paris, the Cologne Philharmonie and the Alte Oper Frankfurt.
Since its founding the Alban Berg Quartet has been a prolific recording ensem?ble and has received more than 30 major international awards, including the Grand Prix du Disque, the Deutsche Schallplatten-preis, the Edison Prize, the first International Classical Music Award, the Japan Grand Prix and the Gramophone Magazine Award. The public and critics regard many of these recordings as definitive.
The Quartet's many recording projects include the complete quartets by Beethoven, Brahms, Berg, Webern and Bartok, the com?plete late Mozart and late Schubert quartets, quartets by Haydn, Dvorak , Schumann, Ravel, Debussy, Stravinsky, von Einem and Haubenstock-Ramati, as well as live record?ings from Carnegie Hall, the Opera Comique in Paris, Queen Elizabeth Hall in London and the Konzerthaus in Vienna. Following its original Beethoven cycle recorded in the studio some years ago, the live recording of its Beethoven cycle at the Konzerthaus dur?ing the Vienna Festival in 1989 has been
released on CD and video. The Quartet has also made live recordings of works by Janacek, Lutoslawski, Berio, Schnittke, Urbanner and Rihm (most of which are dedicated to the Alban Berg Quartet), as well as the Dvorak Piano Quintet (with Rudolf Buchbinder), Schubert's late quartets, Brahms's Clarinet Quintet and String Quintet, Op. Ill, and Mozart's Piano Quartet in E-flat Major and Piano Quintet, KV414 with Alfred Brendel, the quartets Op. 51 and Op. 106 of Dvorak and, most recently, also live, Mendelssohn's quartets Op. 12 and Op. 13.
Reviews for the Alban Berg Quartet confirm its reputation, having been hailed as "one of the great ensembles of our time" by the San Francisco Chronicle, and described as exhibiting "stunning perfection" by The Washington Post. The Frankfurter AUgemeine Zeitung proclaims, "the Alban Berg Quartet have achieved legendary standards in cham?ber music playing."
More important to the Quartet than the superlative praise in the press is its self-appointed mission of giving the most harmonious interpretation of the works it performs and of extending its repertoire from the classical to the avant-garde; the name "Alban Berg" symbolizes this commitment.
The Alban Berg Quartet also takes responsibility for the training of young musicians; its members are professors at the Universitat fur Musik und darstellende Kunst in Vienna and in 1993, joined the Musikhochschule fur Musik in Cologne as successors of the Amadeus Quartet. The members of the Quartet are as dedicated to this task as they are to their own musical work and performance.
Tonight's performance marks theAlban Berg Quartet's UMS debut.
UMS
and
DaimlerChrysler Corporation Fund
present
Stuttgart Chamber Orchestra
Dennis Russell Davies, Principal Conductor Catherine Malfitano, Soprano
Program
Pit Hip Glass, Arr. Dennis Russell Davies
Franz Joseph Haydn
Thursday Evening, March 6 at 8:00 Michigan Theater Ann Arbor
In the Upper Room
Dance i Dance n Dance in Dance iv Dance v Dance vi Dance vn Dance vni Dance ix
Symphony No. 49 in f minor
Adagio
Allegro di molto Menuetto and Trio Finale: Presto
INTERMISSION
William Bolcom
Medusa Monodrama for Dramatic Soprano and String Orchestra
Part 1
i. The Hag on the Crag (Senza Tempo)
ii. In Athena's Temple Tranquillo, delicato
m. The Rape Presto
iv. The Sentence Slow, intense
v. The Expedition: Scena quiet, melancholy
vi. The Storm Presto
Part 2
vii. Interlude Allegro molto agitato
via. After the Petrifaction: Scena Molto allegro
ix. A Beating of Wings Grazioso
x. Perseus Moderato
xi. Perseus Approaches fast
xii. Finale: Pegasus gently
Ms. Malfitano
56th Performance of the 124th Season
124th Annual Choral Union Series
The phvttigmpliins or sound nKvnling of this concert or wscsswn of any device for
is pmhibitnt
This performance is sponsored by DaimlerChrysler Corporation Fund.
This performance is presented with generous support from the H. Gardner Ackley Endowment Fund, established by Bonnie Ackley in memory of her husband.
This performance is co-presented with the University of Michigan as part of a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the performing arts.
The 124th Annual Choral Union Series is sponsored by Forest Health Services. Additional support provided by media sponsor WGTE 91.3 FM.
Special thanks to the UM School of Music Division of Orchestral Conducting for their involvement in this residency.
The Stuttgart Chamber Orchestra appears by arrangement with Columbia Artists Management, Inc.
The Stuttgart Chamber Orchestra records for ECM, Orfeo, Discover and Mediaphon. Dennis Russell Danes records for Argo, BMG, ECM, Musicmasters, Discover and Point Records.
Ms. Malfitano is represented by Rita Schiizt Management.
Large print programs are available upon request.
Fores! Health Services presents the 124th Annual Choral Union Series.
In the Upper Room
Philip Glass
Born January 1937 in Baltimore
Tonight's performance marks the UMS premiere of Philip Glass's In the Upper Room.
In the Upper Room was originally conceived as a ballet for the then newly founded com?pany Twyla Tharp Dance. It was first per?formed in 1986 as untitled work-in-progress at the Saratoga Arts Center Little Theater where it was immediately hailed as a new, dynamic creation by audience and critics alike. A subsequent recording of five of the work's original nine sections inspired Dennis Russell Davies, a close friend of the compos?er and longtime protagonist of Philip Glass's music, to re-conceive the work as a kind of magical pantomime for the concert hall, relying on the resourcefulness of two mime artists using only a sheet of canvas as a prop and a couple of square yards of stage room less than for a concert grand piano. In a word, minimal music should accompany minimal theater. Dennis Russell Davies, who has resourcefully re-scored the five dances for string orchestra, was aided in making a visual realization of the music by Alexander Neander and Wolfram von Bodecker, two exceptionally talented young mime artists from the celebrated Compagnie de Mimodrame Marcel Marceau. The result is a tragicomic intermezzo, which takes references to Shakespeare's plays The Tempest and Romeo and Juliet as a starting point, although this imaginary Juliet has two suitors instead of one. The mini-drama unfolds against a background of Philip Glass's shifting pattern variations, an infinitely subtly woven tapestry of sound, which casts its own special spell.
Program note by Iain MacPhail.
Symphony No. 49 in f minor
Franz Joseph Haydn
Born March 31, 1732 in Rohrau,
Lower Austria Died May 31, 1809 in Vienna
Tonight's performance marks the third com?plete UMS performance of Haydn's Symphony No. 49. The Bath Festival Orchestra under the baton of Maestro Yehudi Menuhin gave the UMS premiere of the piece as part of the Fair Lane Festival on the Dearborn campus of the University of Michigan in July 1967.
There appears to have been a "Romantic cri?sis" in Haydn's life between 1768 and 1772, approximately. It has been fashionable to link this crisis to a contemporaneous trend in German literature known as the Sturm und Drang (storm and stress). This trend, an important precursor of Romanticism, pro?duced such literary masterpieces as Goethe's Leiden des jungen Werther (The Suffering of Young Werther) and Schiller's Die Rduber (The Bandits).
It is almost certain that Haydn never read the products of the literary Sturm und Drang: there is no evidence that he ever was an avid reader of fiction or poetry. However, many of his works written around 1770 are more intense and emotional than those from earlier or later periods. His output from those years is characterized by a fre?quent use of the "sad" or "dramatic" minor mode, a preference for either unison pas?sages or learned counterpoint (as opposed to the usual texture of melody and accom?paniment), themes using wide leaps, frequent syncopations, chromaticism and diminished seventh chords. In one word, Haydn was actively exploring what was out of the ordi?nary, witness his symphonies: Symphony No. 44 in e minor (Mourning), Symphony No. 45 in f-sharp minor (Farewell) or Symphony No. 52 in c minor, as well as
several of his keyboard sonatas and string quartets from the period. (It is interesting that this "musical Sturm und Drang was not limited to Haydn; the 17-year-old Mozart wrote his dramatic Symphony No. 25 in g minor, K. 183 in 1773, and even lesser com?posers, such as Vanhal or d'Ordonez, were writing dark-hued symphonies in minor keys around this time.
Symphony No. 49 is one of the earliest representatives of Haydn's Sturm und Drang style. Its traditional numbering, which dates from the 19th century, is incorrect and does not reflect its chronological position among Haydn's symphonies. Symphony Nos. 44-48, which precede it in the catalog, were written between 1772-73, that is, four or five years later. Symphony No. 49 is an "old-fashioned" work, adhering to the slow-fast-slow-fast scheme of the Baroque sonata da chiesa (church sonata), with one difference: the second slow movement was replaced by a minuet. This work is the last of seven Haydn symphonies to follow the sonata da chiesa pattern.
Another unusual feature of the present symphony is that the somber f-minor tonality is maintained in all four movements, from beginning to end. Only the brief Trio section of the minuet is in F Major.
The most Sturm-und-Drang-like parts of the work are the two fast movements. The second movement, "Allegro di molto," and the fourth movement, "Presto," have all the hallmarks of the style as described above. The first and third movements are in a seri?ous and contemplative mood that various writers have tried to explain by suggesting connections with either church services or theatrical performances, without being able to document any such connections. (The third-movement minuet is closely related to the analogous movement in Haydn's String Quartet Op. 20, No. 5 from 1772, which is also in f minor.)
The nickname "La passione," like the nicknames of many other Haydn sym?phonies, was not given by the composer. It appears in a manuscript copy made long after the work was composed. It may refer to a performance during Holy Week. It is amusing, however, that in another manu?script copy, the symphony has an entirely different heading: "Nel suo entusiasmo, il Quakero di bel'humore" (In his enthusiasm, the good-humoured Quaker), with the added observation, "This symphony serves as a companion to that of the English Philosopher by the same author." The other symphony is evidently Symphony No. 22 in E-flat Major, written in 1764, nicknamed "The Philosopher." In a 1990 study, musicol?ogist Elaine Sisman discussed moralizing Quaker figures in 18th-century European drama, and their possible connections with Haydn.
Haydn's Sturm und Drang period even?tually passed: in the mid-1770s he entered a new, more Classical phase of his stylistic evolution. Yet the Sturm und Drang years had enriched his music with a wider range of expressive devices that stayed with him for the rest of his life. There is no doubt that the years 1768-72 marked the first peak in Haydn's compositional career.
1768 was a bad year for Haydn, for his house in Eisenstadt was disastrously damaged by fire. On August 2, a very hot day, a fire broke out towards mid-day and took hold so rapidly that when it came, all help was too late. All the three streets of the little town were similarly affected, the houses blazing fiercely. The Council house, the Franciscan monastery, part of Monastery Row, the Church, and 141 houses among which was Haydn's -were burned down. Only 19 houses in the town were spared....
It took a long time for Haydn to recover from this stroke of ill fortune. It is said that he was in a terrible state of anguish as he stood amidst the smoking
ashes of his house looking for scorched scores. His biographer, Georg August Griesinger, wrote that "several Haydn operas as well as other compositions, of which unfortunately there were no copies, perished in the flames."
...The Prince, however showed great consideration to his valued Music Director and undertook the entire rebuilding of the house at his own expense.
from Christina Stadtlaender, Joseph Haydn ofEisenstadt (London, 1968)
Program note by Peter Laki.
Medusa Monodrama for Dramatic Soprano and String Orchestra
William Bolcom
Born May 28, 1938 in Seattle, Washington
Tonight's performance marks the UMS premiere of William Bokom's Medusa.
One of my great pleasures in composing is having had long associations with such superb artists as my close friends, Catherine Malfitano and Dennis Russell Davies, for whom I have written many times, singly and collectively. I have enjoyed an even longer productive friendship 43 years with poet-librettist Arnold Weinstein, who most recently has gained much-deserved praise for our A View from the Bridge, which recently completed its Metropolitan Opera run.
Weinstein is fluent in the many styles and moods of the English language, from the most elevated to the earthiest, and Medusa affords an opportunity to show his broad familiarity with classic Roman and Greek literature. His text conflates and mar?ries numerous Medusa mythological tales, juxtaposing them sometimes with a contem?poraneous, jazzy diction, in a way absolutely in the classical tradition.
I have tried to sail my musical boat according to his laid-out course a wild ride full of surprises affording Catherine Malfitano a real tour deforce as well as one for Maestro Davies's virtuoso strings. The listener will note a number of percussive, pitchless sounds drawn from this ensemble. Inspired as much by the ferocity of the Medusa legend as by its infinite pathos, the grand curve of the work traverses her early beauty, her horrifying transformation, and her death, which again leaves beauty in its wake.
Program note by William Bolcom.
One of the most innovative and eclectic conductors in the classical music world, Dennis Russell Davies has succeeded in challeng?ing and inspiring audiences on both sides of the Atlantic. Davies has ventured into operatic, orches-
tral and even popu?lar forms of music as conductor, chamber musician and pianist to express his versa?tile musical agenda. Since 1980, he has lived in Germany but has maintained an active presence on the North American
scene as a regular guest conductor with the major orchestras and opera houses of New York and Chicago. Davies is currently in his last season as Chief Conductor of the Vienna Radio Symphony Orchestra, continues as Chief Conductor of the Stuttgart Chamber Orchestra and Professor of Orchestral Conducting at the Salzburg Mozarteum, and concludes his tenure this season as Music Director of the American Composers
Orchestra after 25 years. In 2002, he begins his post as Chief Conductor of the Linz Opera, and Chief Conductor and Music Director of the Bruckner Orchestra Linz.
In his final season as Chief Conductor of the Vienna Radio Symphony Orchestra, he continued conducting and recording subscription concerts at Vienna's Musikverein and Konzerthaus and touring with the Orchestra. His work as Chief Conductor of the Stuttgart Chamber Orchestra includes the fourth year of a 10-year project of performing and recording all 107 Haydn symphonies in partnership with Mercedes-Benz. In February 2002, he conducted the American Composers Orchestra in Carnegie Hall, celebrating Philip Glass's 65th birthday with the world premiere of Glass's Symphony No. 6, and returned to Carnegie Hall in April to celebrate the American Composers Orchestra's 25th anniversary and his final concert as Music Director of the organization that he co-founded in 1977. He also guests with the Danish National Radio Symphony Orchestra, and returned in the summer of 2002 to the Lincoln Center Festival, where he is collaborating with Bill T. Jones in a new production of Lou Harrison's The Young Caesar.
During Davies's extensive opera career, he has been the music directorconductor for many important productions. They include: Akhnaton, Achim Freyer director, Stuttgart 1984; Fidelio, Yuri Lubimov director, Stuttgart 1986; Lulu, Yuri Lubimov director, Chicago 1987, and Willy Decker director, Paris 1998 (named the Grand Prix of Theatre and Music Critics Union "Best Opera Performance of the Year"); Four Saints in Three Acts, Robert Wilson director, Houston, 1996; The Rise and Fall of the City of Mahagonny, Peter Zadek director, Salzburg, 1998; White Raven, Robert Wilson director, Lisbon, 1998 and Lincoln Center Festival New York, 2001; and A View From the Bridge, Frank Galati director, Chicago, 1999. Davies's tenure as General-
musikdirektor of the Stuttgart Opera, from 1980 to 1987, is regarded as one of the most significant periods in that theater's distin?guished history. In addition to conducting highly regarded and sometimes even con?troversial productions of the standard reper?tory by Mozart, Beethoven, Weber, Wagner, Verdi and Puccini, Davies solidified the Stuttgart Opera's reputation for adventurous programming by introducing several pre?mieres on this stage. Such works include Hans Werner Henze's The English Cat, Philip Glass's Akhnaten, and William Bolcom's Songs of Innocence, Songs of Experience. His diverse repertory is testimony to his commitment to the artistic growth and development of not only each organization he has led, but also the living composers with whom he has collaborated. His close personal friendships with composers Luciano Berio, William Bolcom, John Cage, Philip Glass, Lou Harrison, Hans Werner Henze and Francis Thome (with whom he formed the American Composers Orchestra) have been an impor?tant catalyst for enriching concert and operatic repertory in general. Extensive collaborations throughout his career include ones with Laurie Anderson, Keith Jarrett, Cab Calloway and Jan Garbarek.
Davies's prolific recordings, as conductor as well as pianist, number well over 60 and having received numerous awards, can be found on many labels. His newest releases on the ECM label are Flux, an all Erkki-Sven Tiiiir recording with the Vienna Radio Symphony Orchestra and John Cage's The Seasons with the American Composers Orchestra, which won the Japan Record Academy Awards 2000 first prize in the Nonesuch, he has recorded many works of Philip Glass, including Symphonies Nos. 2,3 and 5.
Davies has had successful tenures as the General Music Director of the City of Bonn (Germany), Principal ConductorClassical Music Program Director of the Philadelphia
Orchestra at the Saratoga Performing Arts Center, Principal Conductor of the Brooklyn Philharmonic Orchestra and Music Director of the St. Paul Chamber Orchestra. In addi?tion to his North American orchestral guest conducting appearances, Davies has guest conducted some of the most prestigious orchestras in Europe including the Berlin Philharmonic, Munich Philharmonic, Gewandhaus Orchestra and the Orchestre de la Suisse Romande.
Tonight's performance marks Dennis Russell Davies's UMS debut.
New York-born Catherine Malfitano is acclaimed for her commanding vocalism, superb musicianship, elegant stage pres?ence and riveting dramatic abili?ties. Renowned as a unique music theater performer, Ms. Malfitano has appeared at all the world's leading opera houses including the Metropolitan Opera, the Lyric Opera of Chicago, the Vienna State Opera, La Scala, the Paris Opera, and the Royal Opera Covent Garden. Her Emmy-award winning portrayal of Tosca, broadcast live from the actual Roman settings of the opera, was seen by more than one billion viewers worldwide. Catherine Malfitano's stage repertoire of more than 60 roles spans the entirety of operatic history. Her interpretations extend from Monteverdi's Poppea and Erisbe in Cavalli's L'Ormindo to Annina in Menotti's Saint ofBleecker Street, from Gluck's Euridice to Polly Peachum in Weill's Threepenny Opera; and Susanna in Le Nozze di Figaro and both Zerlina and Donna Elvira in Don Giovanni to Cleopatra in Samuel Barber's Antony and Cleopatra.
A champion of 20th century music, she has sung in the world premieres of Carlisle Floyd's Bilby's Doll, Conrad Susa's Transfor-
mations, Thomas Pasatieri's Washington Square and William Bolcom's A View From the Bridge and McTeague.
Throughout her career, Ms. Malfitano has worked with the world's leading con?ductors including Daniel Barenboim, James Levine, Zubin Mehta, Wolfgang Sawallisch, Christoph von Dohnanyi, and Dennis Russell Davies. Her collaborations with premiere directors such as Robert Altman, Jean-Pierre Ponnelle, Luc Bondy and Nikolaus Lehnhoff, have produced many of the most memorable operatic events of our time.
Catherine Malfitano begins the 200203 season with her first performances as Minnie
in La Fanciulla del West at Los Angeles Opera opposite Placido Domingo and conducted by Simon Young. She will repeat the role of Beatrice in Bolcom's A View From the Bridge in the work's Metropolitan Opera premiere conducted
by Dennis Russell Davies. She will sing her first performances of both Poulenc's La Voix Humaine and Weill's Seven Deadly Sins with Cincinnati Opera to conclude the season.
In recital, she has appeared in San Francisco, Chicago, New York, Toronto, Washington, DC, Houston, Zurich, Vienna, Barcelona, Geneva, Brussels, Bonn and at the Salzburg Festival and London's Wigmore Hall. She also appeared in a joint all-Weill recital with William Bolcom and Joan Morris in Toronto. In May 2001 Ms. Malfitano made a special set of appearances at Joe's Pub, part of the New York Public Theater, in a cabaret recital. This live performance has been issued on VAI Records.
Among her recordings is Salome on the DeccaLondon label with Christoph von
Dohnanyi and the Vienna Philharmonic. Her Rome Tosca with Placido Domingo is avail?able on Teldec video and compact disc. Other recordings include Romeo et Juliette with Alfredo Kraus on EMI, Rossini's Stabat Mater conducted by Riccardo Muti, Monteverdi's Poppea, and William Bolcom's A View From the Bridge. On video, Ms. Malfitano appears at the George London Gala from Vienna and at the Metropolitan Opera galas cele?brating the company's centennial in 1983, and James Levine's 25th anniversary in 1996.
In addition to Ms. Malfitano's full opera schedule she also makes time for recitals, orchestral concerts, and cabaret performances, teaching voice privately, giving master classes in the US and England and teaching a singeractor course at DePaul University in Chicago, where she is a visiting professor.
Tonight's performance marks Catherine Malfitano's UMS debut.
In the spring of 1997, the internation?ally celebrated Stuttgart Chamber Orchestra (SCO) returned for its 12th North American tour since its acclaimed debut on this continent in 1950. This was the first time that the orches?tra appeared in the US with Dennis Russell Davies as its Chief Conductor. Having led the orchestra on a North American tour in its 50th anniversary year, Mr. Davies subse?quently was named Chief Conductor of the Stuttgart Chamber Orchestra in August 1995.
This world-renowned orchestra has received tremendous critical acclaim during its tours of North America, Europe and the Far East and the success of the Stuttgart Chamber Orchestra is reflected by invitations to perform throughout the major music capitals of the world as well as in such pres?tigious festivals as the Salzburg, Edinburgh, Colmar, and Prague Spring.
Founded in 1945 by Karl Munchinger a few short months after the end of World War II, Munchinger and the SCO created a huge sensation when they made their Paris debut in 1949, as the first German orchestra to perform there since the war. Following this first major international success, the orchestra was adopted as musical ambassador of goodwill, making post-war pioneering visits to many countries, including the first visit to the People's Republic of China by a German orchestra in 1977.
In January 1987, after holding the post for 42 years, Karl Munchinger relinquished the artistic directorship of the orchestra. Since that time, the orchestra has worked with internationally respected conductors such as Trevor Pinnock, Helmuth Rilling, Iona Brown, Leon Fleisher, Vaclav Neumann, and Stanislaw Skrowaczewski. Particularly notable were the orchestra's performances of 22 symphonies by Joseph Haydn in eight concerts during the European Musical Festival Stuttgart in August 1988, conducted by Ferdinand Leitner, and a series of nine concerts devoted to the early orchestral works of Mozart at the same festival in 1991, under the direction of Dennis Russell Davies.
The Stuttgart Chamber Orchestra has made recordings on numerous labels in recent years and, under Davies, has developed a close relationship with the recording label ECM New Series, for whom the orchestra has recorded two newly released albums: Caris Mere and Dolorosa. Caris Mere features works by Giya Kancheli with soloists Jan Garbarek (soprano saxophone), Kim Kashkashian (viola), Eduard Brunner (clarinet), and Maacha Deubner (voice); and Dolorosa features Shostakovich's Chamber Symphony (an arrangement by Rudolph Barshai of the String Quartet No. 8), Alfred Schnittke's Trio Sonata (arranged by Yuri Bashmet), and Peteris Vasks's Musica Dolorosa. Released in 1996, ECM's recording of Mozart piano concerti,
with Keith Jarrett as soloist, has received much critical interest. The Stuttgart Chamber Orchestra is also recognized for the wealth of recordings it has made on the LondonDecca label. A large part of the chamber orchestra repertoire is available, including its recording of Bach's St. Matthew Passion, which was awarded the prestigious Grand Prix du Disque. The SCO is currently
in the midst of a "Haydn Decade", during which they will perform and record all 104 Haydn symphonies.
Tonight's performance marks the Stuttgart Chamber Orchestras second appearance under UMS auspices. The ensemble made their UMS debut in February 1990 under the baton of Maestro Leon Fleisher.
Stuttgart Chamber Orchestra
Dennis Russell Davies, Principal Conductor
First Violin
Benjamin Hudson,
First Concerttnaster Wolfgang Kussmaul,
Second Concerttnaster Wolfgang Rosch Adriana Ringler Manfred Wetzler Julie Neander
Second Violin
Henning Triibsbach, Principal Joachim Ulbrich Iain MacPhail Onur Kestel
Viola
Tetsuya Hayashi, Principal Hans-Joachim Dann Stanislas Bogucz Emanuel Wieck
Cello
Gyorgy Bognar, Principal Reinhard Werner Ulrike Eickenbusch
Double Bass
Renger Woelderink, Principal Konrad Neander
Oboe
Nick Deutsch, Solo Irene Draxinger
Horn
Jan Schroder, Solo Heinrich Lohr
Harpsichord
Robert Aldwinckle
Stuttgarter Kammerorchester
Tilman Kuttenkeuler
Orchestra Director Sabine Rodenhauser
Artistic Office Manager Gerlinde Rettenberger
Orchestra Director's Secretary Stephanie Geiger
Managerial Assistant
Columbia Artists Management, Inc.
Tour Direction
R. Douglas Sheldon,
Senior Vice President Karen Kloster, Tour Coordinator Colleen Sullivan,
Managerial Assistant Elizabeth E. Torres,
Program Manager Renee O'Banks, Tour Manager
Hotels by Tourwerks, Inc. Air by Sintec-Tur
experience
THE 2003 UMS WINTER SEASON
Please note that a com?plete listing of all UMS Educational activities will now be conveniently located within the concert program section of your program book. All Education activities are also posted on the UMS website at www.ums.org.
'Forest Health Services presents the 124th Annual Choral Union scries.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Michigan Theater
Sponsored by Pfizer.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane
Dance Company
with the
Chamber Music Society
of Lincoln Center
featuring the
Orion String Quartet
Saturday, January 11,8 p.m. Sunday, January 12,4 p.m. Power Center
The Saturday performance is sponsored
by Borders.
The Sunday performance is presented
with the generous support of Maurice
and Linda Binkow.
Related educational activities presented
with support from the Whitney Fund.
Funded in part by the National Dance
Project of the New England
Foundation for the Arts.
Media Sponsors WGTE 91.3 FM,
WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and conceived by Sekou Sundiata Friday, January 17, 8 p.m. Saturday, January 18, 8 p.m. Sunday, January 19, 2 p.m. Trueblood Theatre Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Lirrtr Motta, Joao Bosco, Lejjjnnheiro and Zelia Du
Friday, JamyJ&l, 8 p.m. MichigarrWater
Keybank and McDonald InvefcnjlTts, Inc. Media Sponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, 8 p.m. Michigan Theater Presented with support from JazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2,4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9,4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
marimba
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Sponsored by TIAA-CREF. Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra
The Celluloid Copland:
Copland's Music for the Movies
(performed with original films) Jonathan Sheffer, conductor Sunday, February 16,4 p.m. Michigan Theater Sponsored by the CFI Group. Media Sponsor WGTE 91.3 FM.
Vienna Philharmonic
Nikolaus Harnoncourt, conductor
Thursday, February 27, 8 p.m.
Detroit Opera House
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM.
Royal Shakespeare Company Shakespeare's The Merry Wives of Windsor
Rachel Kavanaugh, director Saturday, March 1, 7:30 p.m. Wednesday, March 5, 7:30 p.m. Thursday, March 6,1:30 p.m. Saturday, March 8, 7:30 p.m. Sunday, March 9, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Royal Shakespeare Company Shakespeare's Coriolanus
David Farr, director Sunday, March 2, 1:30 p.m. Tuesday, March 4, 7:30 p.m. Thursday, March 6, 7:30 p.m. Friday, March 7, 7:30 p.m. Saturday, March 8, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Royal Shakespeare Company Salman Rushdie's Midnights Children
A new dramatization by Salman Rushdie, Simon Reade and
Tim Supple
Wednesday, March 12, 7:30 p.m. Thursday, March 13, 7:30 p.m. Friday, March 14, 7:30 p.m. Saturday, March 15, 1:30 p.m.
& 7:30 p.m.
Sunday, March 16,1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation.
Presented with support from the Ford Foundation.
Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Alban Berg Quartet
Monday, March 3, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor Media Sponsor WGTE 91.3 FM.
Stuttgart Chamber Orchestra
Dennis Russell Davies, conductor Catherine Malfitano, soprano Alexander Neander and Wolfram von Bodecker, mimes Thursday, March 6, 8 p.m. Michigan Theater Sponsored by DaimlerChrysler Corporation Fund.
This performance is co-presented with the University of Michigan. Media Sponsor WGTE 91.3 FM.
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra Thomas Sheets, conductor Janice Beck, organ Saturday, March 22, 8 p.m. Pease Auditorium
Kodo
Monday, March 24, 8 p.m. Tuesday, March 25, 8 p.m. Wednesday, March 26, 8 p.m. Michigan Theater Media Sponsor WDET 101.9 FM and Metro Times.
Susan Graham, mezzo-soprano
Malcolm Martineau, piano Friday, March 28, 8 p.m. Lydia Mendelssohn Theatre Sponsored by TIAA-CREF.
Takacs Quartet and Muzsikas
Saturday, March 29, 8 p.m. Rackham Auditorium Sponsored by Learning Express-Michigan. Media Sponsor WGTE 91.3 FM.
Muzsikas
Featuring Marta Sebestyen Sunday, March 30, 4 p.m. Rackham Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media Sponsor WDET 101.9 FM.
Evening at the Apollo
Friday, April 4, 8 p.m.
Michigan Theater
Saturday, April 5, 8 p.m.
Detroit Opera House
The Friday performance is sponsored
hy Bank One.
The Saturday performance is
sponsored by Borders.
These performances are co-presented
with the University of Michigan and
presented in partnership with The Arts
League of Michigan.
Related educational activities presented
with support from the Whitney Fund.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Bach Collegium Japan Bach's St. Matthew Passion
Masaaki Suzuki, conductor Wednesday, April 9, 7:30 p.m. St. Francis of Assisi Catholic Church
Matthias Goerne, baritone
Eric Schneider, piano Thursday, April 10, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City Bank.
Afro-Brazilian Dance Party
Saturday, April 12, 9 p.m. EMU Convocation Center Co-sponsored by Sesi Lincoln Mercury Volvo Mazda.
Presented with support from the National Endowment for the Arts. Media Sponsors WEMU 89.1 FM and Metro Times.
An Evening with Audra McDonald Audra McDonald and Trio Ted Sperling, music director and piano
Peter Donovan, bass Dave Ratajczak, drums Friday, April 18, 8 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by JazzNet. Media Sponsor WEMU 89.1 FM.
Gabrieli Consort and
Players
Bach's St. John Passion
Paul McCreesh, music director Saturday, April 19, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
The Hilliard Ensemble
Morimur
Christoph Poppen, violin
Thursday, May 1, 8 p.m.
St. Francis of Assisi Catholic
Church
The Ford Honors Program
mf ne F0RD HONORS PROGRAM is made possible by a gener-f _J'J ous grant from the Ford Motor Company Fund and benefits V-the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Guitarist Christopher Parkening has been selected as the recipient of the 2003 UMS Distinguished Artist Award, which will be presented at the Ford Honors Program on Saturday, May 3. A Gala Dinner at the Power Center follows the performancetribute.
For more information, please call 734.647.8009.
Christopher Parkenirtg
EDUCATION & AUDIENCE DEVELOPMENT
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make connections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0203 educational activities will be announced closer to each event. For more information about adult education or community events, please visit the website at www.ums.org, email umsed@umich.edu, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
Immersions
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Artists-in-Residence
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
UMS YOUTH, TEEN, AND FAMILY EDUCATION PROGRAMS
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at www.ums.org, email umsyouth@umich.edu, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features:
Tamango and Urban Tap Herbie Hancock Quartet
Sweet Honey in the Rock Sphinx Competition -free!
Kodo
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email umsyouth@umich.edu,
The Youth Education Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for
Learning Across the Curriculum with Sean
Layne
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email umsyouth@ umich.edu.
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email umsyouth@umich.edu.
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attending evening and weekend performances not offered through the First Acts Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collabo?rative efforts to make the arts integral to edu?cation and creates professional development opportunities for educators.
Family Programming
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening. Add luxury accommodations to the package and make it a perfect getaway. UMS is pleased to announce its cooperative ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
Vitosha Guest Haus
1917 Washtenaw Avenue
Call 734.741.4969 for reservations
Join proprietors Christian and Kei Constantinov
for afternoon tea, feather duvets and owls in
the rafters in their expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
old English style decor, 10 guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group discount rates and can accom?modate conferences, musical and performing arts events, weddings and family celebrations. Call to inquire about special package prices.
UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine area restaurants. Join us in thanking them for their generous support of UMS.
Arbor Brewing Co.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elaborate regional Italian dishes for you and your guests' pleasure. Reservations accepted. www.bellaciao.com.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list. http:annarbor.org.pages.bluenile.html
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.www.thechophouserestaurant.com
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contemporary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices. www.damatos.com.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertainment.
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectator's "Best of Award of Excellence" 1991-2002.
Gratzi
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted, www.gratzirestaurant.com
The Kerrytown Bistro
At the corner of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly, www.msventures.com
Palio
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available, www.paliorestaurant.com
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted. www.realseafoodcorestaurant.com
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
UMS DELICIOUS EXPERIENCES
Back by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.
UMSsupport
UMS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
ADVISORY COMMITTEE
The 48-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved with this dynamic group, please call 734.936.6837 for more information.
SPONSORSHIP & ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
? Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INTERNSHIPS & COLLEGE WORK-STUDY
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
USHERS
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher corps comprises over 400 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
This performance--and all of UMS's nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of November 1, 2002. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS $25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS S 10,000-524,999
Carl and Isabelle Brauer Dr. Kathleen G. Charla Peter and Jill Corr Ronnie and Sheila Cresswell Hal and Ann Davis Jim and Millie Irwin Robert and Pearson Macek Tom and Debby McMullen Ann Meredith Charlotte McGeoch
$7,500-$9,999
Maurice and Linda Binkow Beverley and Gerson Geltner Prudence and Amnon Rosenthal Edward and Natalie Surovell Marina and Robert Whitman
CONCERTMASTERS
$5,000-57,499
Michael Allemang
Herb and Carol Amster
Douglas D. Crary
Dennis Dahlmann
David and Phyllis Herzig
Dr. Toni Hoover
Doug and Gay Lane
Leo and Kathy Legatski
Paul and Ruth McCracken
Gilbert Omenn and Martha Darling
Erik and Carol Serr
Loretta M. Skewes
Lois A. Theis
Ann and Clayton Wilhite
PRODUCERS $3,500-S4,999
Kathy Benton and Robert Brown
David and Pat Clyde
Katharine and Jon Cosovich
Michael and Sara Frank
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Charles H. Nave
Don and Judy Dow Rumelhart
Herbert Sloan
Lois and John Stegeman
LEADERS
$2,500-$3,499
Bob and Martha Ause
Emily W. Bandera, M.D.
Bradford and Lydia Bates
Raymond and Janet Bernreuter
Barbara Everitt Bryant
Edward and Mary Cady
Maurice and Margo Cohen
Mr. Ralph Conger
Mr. Michael J. and Dr. Joan S. Crawford
Jack and Alice Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
John and Esther Floyd
Ilene H. Forsyth
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
Kcki and Alice Irani
Robert and Gloria Kerry
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman
Judy and Roger Maugh
Neil and Suzanne McGinn
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino James and Nancy Stanley Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
PRINCIPALS
$l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Michael and Marilyn Agin
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Essel and Menakka Bailey
Lesli and Christopher M.ill,ml
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Elizabeth and Giles G. Bole
I toward and Margaret Bond
Bob and Sue Bonfield
Laurence and Grace Boxer
Dale and Nancy Briggs
Virginia Sory Brown
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Lawrence and Valerie Bullen
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Thomas and Marilou Capo
Edwin and Judith Carlson
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Don and Betts Chisholm
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Carolyn and L. Thomas Conlin
Jim and Connie Cook
Jane Wilson Coon
Anne and Howard Cooper
Hugh and Elly Cooper
Paul N. Courant and Marta A. Manildi
Malcolm and Juanita Cox
George and Connie Cress
Kathleen Crispell and Thomas Porter
Judy and Bill Crookes
Peter and Susan Darrow
Pauline and Jay J. De Lay
Lloyd and Genie Dethloff
Lorenzo DiCarlo and
Sally Stegeman DiCarlo Macdonald and Carolin Dick Steve and Lori Director
Molly and Bill Dobson
Al Dodds
Elizabeth A. Doman
Dr. and Mrs. Theodore E. Dushane
Mr. and Mrs. John R. Edman
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Leonard and Madeline Eron
Bob and Chris Euritt
Claudine Farrand and Daniel Moerman
Eric Fearon and Kathy Cho
David and Jo-Anna Featherman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Ray and Patricia Fitzgerald
Bob and Sally Fleming
Otto and Lourdes E. Gago
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Charles and Rita Gelman
James and Cathie Gibson
William and Ruth Gilkey
Drs. Sid Gilman and Carol Barbour
Richard and Cheryl Ginsburg
Paul and Anne Glendon
Alvia G. Golden and
Carroll Smith-Rosenberg Elizabeth Needham Graham Frances Greer John and Helen Griffith Leslie and Mary Ellen Guinn Julian and Diane Hoff Robert M. and Joan F. Howe Dr. H. David and Dolores Humes Ann D. Hungerman Susan and Martin Hurwitz Stuart and Maureen Isaac Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman David and Sally Kennedy Connie and Tom Kinnear Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Samuel and Marilyn Krimm Amy Sheon and Marvin Krislov Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Laurie and Robert LaZebnik Peter Lee and Clara Hwang Carolyn and Paul Lichtcr Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans John and Cheryl MacKrell Sally and Bill Martin Natalie Matovinovic Chandler and Mary Matthews
Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Andy and Candice Mitchell Therese M. Molloy Lester and Jeanne Monts Grant W. Moore Alan and Sheila Morgan Julia S. Morris
Brian and Jacqueline Morton Cruse W. and Virginia Patton Moss Eva L. Mueller
Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman William and Deanna Newman Eulalie Nohrden Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul Margaret and Jack Petersen Elaine and Bertram Pitt Eleanor and Peter Pollack Donald H. Regan and Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Kenneth J. Robinson Dr. and Mrs. Irving Rose Mrs. Doris E. Rowan Dr. Nathaniel H. Rowe James and Adrienne Rudolph Craig and Jan Ruff Alan and Swanna Saltiel Dick and Norma Sams Meeyung and Charles R. Schmitter Mrs. Richard C. Schneider Sue Schroeder
Steven R. and Jennifer L. Schwartz Dr. John J. M. Schwarz Janet and Michael Shatusky Helen and George Siedel Donald C. and Jean M. Smith Susan M. Smith Carol and Irving Smokier Curt and Gus Stager Gus and Andrea Stager David and Ann Staiger Michael and Jeannette Bittar Stern Victor and Marlene Stoeffler Jan and Nub Turner Susan B. Ullrich
Joyce A. Urba and David J. Kinsella Michael L. Van Tassel Elly Wagner Florence S. Wagner John Wagner
Willes and Kathleen Weber Karl and Karen Weick Robert O. and Darragh H. Weisman Angela and Lyndon Welch Marcy and Scott Westerman
Principals, continued
Roy and JoAn Wetzel Harry C. White and Esther R.
Redmount
Iris and Fred Whitehouse Max Wicha and
Sheila Crowley Marion T. Wirick and
James N. Morgan Phyllis B. Wright Paul Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zelenock
BENEFACTORS $500-3999
Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Anastasios Alexiou Dr. and Mrs. David G. Anderson Dr. and Mrs. Rudi Ansbacher Elaine and Ralph Anthony Janet and Arnold Aronoff Norman E. Barnett Mason and Helen Barr Lois and David Baru Tom and Judith Batay-Csorba Dr. Wolfgang and Eva Bernhard John Blankley and
Maureen Foley Tom and Cathie Bloem Jane Bloom, MD and
William L. Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckncr Trudy and Jonathan Bulkley Dr. Frances E. Bull H. D. Cameron
Douglas and Marilyn Campbell Bruce and Jean Carlson Jack and Wendy Carman Marshall and Janice Carr Carolyn M. Carty and
Thomas H. Haug Tsun and Siu Ying Chang Hubert and Ellen Cohen Clifford and Laura Craig Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Delia DiPietro and
Jack Wagoner, M.D. Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Dr. and Mrs. James Ferrara Sidney and Jean Fine Carol Finerman Clare M. Fingerlc Herschcl Fink
lohn and Karen Fischer
Guillermo Flores
Mr. and Mrs. George W. Ford
Phyllis W. Foster
Betsy Foxman and
Michael Boehnke Dr. Ronald Frccdman Professor and
Mrs. David M. Gates Drs. Steve Gciringer and
Karen Banlel
Thomas and Barbara Gelehrter Beverly Gershowitz Cozette Grabb
Dr. and Mrs. Lazar ). Greenfield David and Kay Gugala Carl and Julia Guldbcrg Don P. Hacfner and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Jeannine and Gary Hayden Henry R and Lucia Heinold Mrs. W.A. Hiltncr Louise Hodgson John H.and
Maurita Peterson Holland Drs. Linda Samuclson and
Joel Howell
Eileen and Saul Hymans John and Grctchen Jackson Jean Jacobson Jim and Dale Jerome Emily Kennedy John Kennedy Dick and Pat King Hermine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Lee and Teddi Landes Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bernadette I.intz E. Daniel and Kay Long Brigitte and Paul Maasscn leff Mason and Janet Netz Griff and Pat McDonald Marilyn J. Meeker Deanna Relyea and
Piotr Michalowski Jeanette and Jack Miller Myrna and Newell Miller Cyril Moscow Edward C. Nelson Roy and Winnifred Pierce Stephen and Bettina Pollock Rick Price
Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Dr. Jeanne Raislcr and Dr.
Jonathan Allen Cohn Rudolph and Sue Reichert Molly Resnik and John Martin
H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schabcrg and
Norma I. Amrhcin Rosalie and David Schottenfeld Juliannc and Michael Shea Thomas and Valerie Yova Sheets Howard and Alia Shevrin Pat Shurc
Frances U. and Scott K. Sinionds Irma I. Sklcnar Alcnc and Stephanie Smith Lloyd and Ted St. Antoine lames Steward and Jay Pekala JeffStoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundelson Bob and Betsy Teeter Elizabeth H. Thieme William C.Tyler Dr. Shcryl S. Ulin and
Dr. Lynn T. Schachingcr Dr. and Mrs. Samuel C. Ursu Charlotte Van Curler lack and Marilyn van der Vcldc Mary Vandcn Belt Kate and Chris Vaughan (oyce L. Watson and
Martin Warshaw Robin and Harvey Wax Phil and Nancy Wedemeycr Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Brymcr Williams Max and Mary Wisgerhof Dean Karen Wolff . D. and loyce Woods David and April Wright
ASSOCIATES $250-5499
fesus and
Benjamin Acosta-Hughes Tim and Leah Adams Dr. Dorit Adler Robert Ainsworth Mr. and Mrs. Roy I. Albert Helen and David Aminoff David and Katie Andrea Harlene and Henry Appclman leffand Deborah Ash Mr. and Mrs. Arthur I. Ashe, III Dwight T. Ashley Dan and Monica Atkins Eric M. and Nancy Aupperle Robert I.. Baird
Laurence R. and Barbara K. Baker Lisa and lim Baker Barbara and Daniel Balbach Pauletl Banks Mm R. Bareham David and Monika Barera Mrs. lere M. Bauer Gary Bcckman and Karla Taylor
Professor and Mrs. Erling
Blond.)] Bengtsson Dr. and Mrs. Ronald M. Benson Joan ami Rodney Bcntz James A. Bergman and
Penelope Hommel Steven J. Bernstein Donald and Roberta Blitz David and Martha Bloom Dr. and Mrs. Bogdasarian Victoria C. Boiek and William
M. Edwards
Dr. and Mrs. Ralph Bozell Paul and Anna Bradley June and Donald R. Brown Donald and Lela Bryant Margaret E. Bungc Susan and Oliver Cameron Margot Campos Jeannetteand Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage Dr. Kyung and Young Cho Robert J. Cierniewski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Nan and Bill Conlin Merle and Mary Ann Crawford Pelcr C. and Undy M. Cubba Richard I. Cunningham Marcia A. Dalbey Ruth E. Datz Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis John and lean Dcbbink Elena and Nicholas Delbanco Richard and Sue Dempscy Elizabeth Dexter Jack and Claudia Dixon Judy and Steve Dobson Heather and Stuart Dombey Dr. Edward F. Domino Thomas and Esther Donahue lohn Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dutta Dr. Alan S. Eiser Judge and Mrs. S. I. Elden Ethel and Sheldon Ellis Mr. JohnW. Etswciler, III Mark and Karen Falahee Elly and Harvey Falit Dr. lohn W. Farah Drs. Michael and
Bonnie Fauman loseph and Nancy Fcrrario Karl and Sara Fiegenschuh Dr. James F. Filgas Susan Filipiak
Swing City Dance Studio C. Peter and Bev A. Fischer Gerald B. and
Catherine L. Fischer Susan R. Fisher and
lohn W. Waidley Howard and Margaret Fox Jason I. Fox Lynn A. Fret-land Dr. Leon and Marcia Friedman Lela J. Fuestcr
Mr. and Mrs. Willinm Fulton Harriet and Daniel Fusfeld Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge Matthew and Debra Gildea lames and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo William and Sally Goshorn Enid M. Gosling Charles and lanct Goss Michael L. Gowing Maryanna and
Dr. William H. Graves, III Icrry M. and Mary K. Gray Lila and Bob Green Victoria Green and
Matthew Toschlog Sandra Gregcrman Bill and Louise Gregory Raymond and Daphne M. Grew Mark and Susan Griffin Werner H. Grilk Dick and Marion Gross Bob and Jane Grovcr Susan and ohn Halloran Claribel Halstead Yoshiko 11.im.Hid Tom Hammond Lourdes S. Bastos Hanscn David B. and Colleen M. Hanson Martin D. and Connie D. Harris Nina E. Hauscr
Kenneth and Jeanne Heininger Paula B. Hencken and
George C. Collins I. Lawrence and
Jacqueline Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschel Mr. and Mrs. William B. Holmes John I. Hrilz, Jr. Jane H. Hughes Dr. and Mrs. Ralph M. Hulett Jewel F. Hunter Marilyn C. Hunting Thomas and Kathryn Huntzicker Robert B. Ingling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga Johnson Stephen Josephson and Sally Fink Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselemas Professor Martin E. Katz Julie and Phil Kearney lames A. Kelly and
Mariam C. Noland John B. and Joanne Kcnnard Frank and Patricia Kennedy Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Mrs. Rhea K. Kish Paul and Dana Kissner James and Jane Kister Dr. David E. and Heidi
Castlcman Klein Steve and Shira Klein
Laura Klem
Anne Kloack
Thomas and Ruth Knoll
Dr. and Mrs. Melvyn Kornbkin
Bert and Geraldine Kruse
David W. Kuehn and
Lisa A. Tcdcsco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurance Beth and George LaVoie David Lebenbom Cyril and Ruth Lcder John and Theresa Lee Frank Lcgacki and Alicia Torres Jim and Cathy Leonard Sue Leong Carolyn Lepard Myron and Bobbie Levine Donald I. and
Carolyn Dana Lewis Ken and Jane Lieberthal Leons and Vija Liepa Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Joan Lowenstein and
Jonathan Trobe Ronald Longhofer and
Norma McKenna Richard and Stephanie Lord Charles and Judy Lucas Carl J. Lutkehaus Pamela . MacKintosh Virginia Mahle Latika Mangrulkar Melvin and Jean Manis Nancy and Philip Margolis Ann W. Martin and Russ Larson James E. and Barbara Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallister Margaret E. McCarthy Ernest and Adele McCarus Margaret and
Harris McClamroch Michael G. McGuire James Mclntosh Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. I in1,] ill Merikoski Bernice and Herman Merte George R. and Brigitte Merz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills I bonus Mohlo William G. and
Edith O. Moller, Jr. Jane and Kenneth Moriarty Thomas and Hcdi Mulford Gerry and Joanne Navarre Frederick C. Ncidhardt and
Germaine Chipault Alexander Nelson James G. Nelson and
Katherine M. Johnson Laura Nitzberg and
Thomas Carli
Arthur and Lynn Nusbaum Dr. Nicole Obregon
Robert and Elizabeth Oneal Constance and David Osier Marysia Ostafin and
George Smillie Drs. Sujit and Uma Pandit William and Hcdda Panzer Nancy K. Paul Wade and Carol Peacock Zoe and Joe Pearson Karen Tyler Perry Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonnc Plantinga Bill and Diana Pratt Jerry and Lorna Prcscott Larry and Ann Preuss I. Thomas and Kathleen Pusiell I cl.iiul and
Elizabeth Quackcnbush Patricia Randlc and James Eng im and leva Rasmussen Anthony L RcfTells and
Elaine A. Bennett Jack and Margaret Ricketts Constance O. Rinehart Kathleen Roelofs Roberts Mr. and Mrs. Stephen . Rogers Robert and Joan Rosenblum Mr. Haskcll Rothstein Doug and Sharon Rothwell Sally Rutzky Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss John and Reda Santinga Michael and Kimm Sarosi Dr. Stephen J. and Kim R. Saxe Gar)' and Arlene Saxonhouse Albert). and Jane L. Sayed Frank J. Schauerte Richard Black and
Christine Schesky-Black David and Marcia Schmidt Jean Scholl David E. and
Monica N. Schteingart Richard A. Seid Mrs. Harriet Selin Judith and Ivan Sherick George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showalter John and Arlene Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Slottow Carl and lari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Arthur and Elizabeth Solomon Yoram and Eliana Sorokin Tom Sparks
Larry and Doris Sperling Jeffrey D. Spindler Burnette Staebler Gary and Diane Stahle Frank D. Stella Rick and Lia Stevens Stephen and Gayle Stewart
Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Richard and Diane Sullivan Brian and Lee Talbot Margaret Talburtt and
James Feggs Eva and Sam Taylor Stephan Taylor and
Elizabeth Stumbo James L. and Ann S. Tclfcr Paul and Jane Thiclking Edwin J. Thomas Bcttc M. Thompson Nigel and Jane Thompson Dr. and Mrs. Robert F. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Jim Toy
Bill and Jewell Tustian Tanja and Rob Van der Voo Lourdes Vclez, MD Wendy L. Wahl and
William R. Lee Charles R. and
Barbara H. Wallgrcn Carol Weber Deborah Webster and
George Miller Lawrence A. Weis Susan and Peter Westcrman Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Nancy Wiernik Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Beverly and Hadley Wine Beth and I. W. Winsten Lawrence and Mary Wise Charles Witke and Aileen Garten Charlotte A. Wolfe Al and Alma Wooll Don and Charlotte Wyche Richard Yarmain MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
ADVOCATES $100-$249
Ronald Albucher and Kevin Pfau Gordon and Carol Allardyce Phyllis Allen
Richard and Bettyc Allen Barbara and Dean Alseth Forrest Alter Richard Amdur Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Catherine M. Andrea lili B. and
Thomas ]. Archambeau M.D. Helen Aristar-Dry Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Jack and Jill Arnold Dr. and Mrs. Allan Ash
Advocates, continued
James and Doris August John and Rosemary Austgen Erik and Linda Lee Austin Ronald and Anna Marie Austin William E. and
Patricia K. Austin, Ji. Shirley and Donald Axon Virginia and Jerald Bachman Mr. Robert M Bachtcal Mark Bacrwolf Prof, and Mrs. J. Albert Bailey Joe and Helen Logelin Helena and Richard Balon Maria Kardas Barna Laurie and Jeff Barnett Robert and Carolyn Bartle Leslie and Anita Bassett Francis ]. Bateman Charles Baxter
Deborah Bayer and on Tyman Kenneth C. Beachler James and Margaret Bean Frank and Gail Beaver Robert Becldey and
Judy Dinesen Nancy Bender Walter and Antje Benenson Mr. and
Mrs. 1b Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg
James K. and Lynda W. Berg Harvey Berman and
Rochelle Kovacs Berman Kent Berridge Gene and Kay Berrodin Mark Bertz
Ralph and Mary Beuhler T. Patrick and Sarah Bidigare Rosalyn Biederman Christopher Bigge Eric and Doris Billes Jack Billi and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Leslie and Roger Black Martin and Mary Black Mary Steffek Blaske and
Thomas Blaske Mark and Lisa Bomia Seth Bonder
Harold W. and Rebecca S. Bonnell Lynda Ayn Boone Ed and Luciana Borbely Morris and Reva Bornstein Jeanne and David Bostian Jim Botsford and
Janice Stevens Botsford Bob and Jan Bower William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Olin and Aleeta Browder Linda Brown and Joel Goldberg Edward and Jeanette Browning Molly and John Brueger John and Nancy Buck Elizabeth Buckncrand
Patrick Herbert Marilyn Burhop Joanne Cage
Brian and Margaret Callahan Louis and Janet Callaway Barb and Skip Campbell Susan Y. Cares
James and Jennifer Carpenter Dennis B. and
Margaret W. Carroll
John and Patricia Carver
Cynthia Casteel
Margarel and William Cavcney
K. M. Chan
Samuel and Roberta Chappcll
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R.Churchill
Nancy Cilley
Barbara Cingel
Donald and Astrid Cleveland
Mr. FredW.Cohrs
Willis Colburn and Denisc Park
Michael and Marion T. Collier
Ed and Cathy Colone
Wayne and Melinda Colquitt
Kevin and Judith Compton
M. C. Conroy
Jeff Cooper and Peggy Daub
Mr. and Mrs. Herbert Couf
Brian T. and Lynne P. Coughlin
Marjoric A. Cramer
Richard and Penelope Crawford
Mary C. Crichton
Mr. and Mrs. fames I. Crump
Peggy Cudkowicz
Townley and Joann Culbertson
John and Carolyn Rundcll Culotta
Marcio Da Fonseca
Mr. and Mrs. John R. Dale
Marylee Dalton
Mr. and
Mrs. Robert L. Damschrodcr Timothy and Robin
Damschrodcr
Mr. and Mrs. Norman Dancy Stephen Darwall and
Roscmarie Hester DarLinda and Robert Dascola Carol Dasse Ruth E. Datz Sally and Jack Dauer Mr. and Mrs. Arthur W. Davidge Mark and ane Davis State Rep. and
Mrs. Gene De Rossctt Dr. and Mrs. Raymond F. Decker Joe and Nan Decker Peter and Deborah Deem Rossana and George DcGrood George and Margarel DeMuth Pamela DcTullio and
Stephen Wiseman Don and Pam Devine Martha and Ron DiCecco Timothy L, Dickinson and
Anja Lchmann
Andrzej and Cynthia Dlugosz Ruth J. Doane Mrs. Ruth P. Dorr-Ma(ifett Bill and Mary Doty Victor and Elizabeth Douvan Roland and Diane Drayson Mary P. Dubois Ronald and Patricia Due Connie R. Dunlap Richard F. Dunn Jean and Russell Dunnaback Dr. and Mrs. Wolf Duvernoy Gavin Eadie and Barbara Murphy Anthony and Sarah Earlcy Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vernon . and Johanna Ehlers Karen Eisenbrcy Chris and Betty Elkins Lawrence Ellenbogen Anthony and Paula Elliott Julie and Charles Ellis
H. Michael and Judith L Endres Joan and Emit Engcl Karen Epstein and
Dr. Alfred Franzblau Steve and Pamela Ernst Dorothy and Donald Eschman Mr. and Mrs. Robert B. Fair, jr. Garry and Barbara Faja Inka and David Fclbeck David and Karen I-'eldman Phil and Phyllis Fellin Larry and Andra Ferguson Dennis and Claire Fernly Carol Fierke Lydia H. Fischer Dr. and Mrs. Richard L Fisher Beth and Joe Fitzsimmons George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Burke and Carol Fossee Scott Fountain William and Beatrice Fox Dan and Jill Francis Hyman H. Frank Lora Frankel Lucia and Doug Freeth Richard and Joann Frcethy Otto W. and Helga B. Freitag Sophia L. French Joanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram (Sail Frames Jerry Frost Ms. Carolyn Frost Joseph E. Fugere and
Marianne C. Mussett Douglas J. Futuyma Frances and Robert Gamble Mr. and Mrs. James E. Gardner Karen Gardstrom In,inn Gargaro
R. Dennis and Janet M. Garmcr Jack ). and Helen Garris C. Louise Garrison Janet and Charles Garvin Tom Gasloli
Wood and Rosemary Geist Michael and
Ina Hanel-Gerdenkh W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Rcnatc Gcrulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis Joyce and Fred Ginsberg Kathleen Glezen Mr. and Mrs. Robert Gold Ed and Mona Goldman Mrs. Esztcr Gombosi Mitchell and Barbara Goodkin Selma and Albert Gorlin William and Jean Gosling Kristin A. Goss
Christopher and Elaine Graham Helen M. Graves Isaac and Pamela Green Deborah S. Greer Linda Gregcrson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Gribble Rita and Bob Grierson Laurie Gross Robin and Stephen Gruber
Arthur W. Gulick, M.D. Lorraine Gutierrez and
Robert Peyser Barbara H. Hammitt Dora E. Hampel Don and Jan Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurclynne D. and
George Harris Susan Harris James R. Hartley Anne M. Hcacock Henry and Mary S. Healey Dr. and Mrs. James Heiter William C. Heifer Sivana Heller Dr. and
Mrs. John W. Henderson Karl Henkel and Phyllis Mann Al and Jolene Hermalin Jeanne Hernandez Ken and Carrie Herr Roger and Dawn Hertz Ronald D. and Barbara J. Hertz Roger F. Hewitt John and Martha Hicks Herb and Dec Hildebrandt Peter G. Hinman and
Elizabeth A. Young James and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnke Scott M. Holda Gad Holland Mrs. Howard Holmes Kenneth and Joyce Holmes Dave and Susan Horvath Paul Hossler Dr. Nancy Houk lames and Wendy Fisher House Jeffrey and Allison Housner Gordon Housworth Kenneth and Carol Hovey Mrs.V.C. Hubbs Judc and Ray Huctteman Harry and Ruth Huff JoAnne W. Hulce Alan and Karen Hunt Virginia E. Hunt Edward C. Ingraham Perry Irish Kali Israel
Sid and Harriet Israel Judith G. Jackson Prof, and Mrs. John H. Jackson David laliii Elizabeth [ahn Donald E. and
Vivienne B. Jahncke Dr. and Mrs. Joachim Janeckc Nick and luli.i Janosi Dean and Leslie Jarrett Jeff favowiaz and
Ann Marie Petach Marilyn G. Jeffs Frances and Jerome Jelinek Keith D. and Kathryn H. Jensen Margaret Jensen Christopher P. and
Sharon Johnson Mark and Linda Johnson Constance L. Jones Dr. Marilyn S. Jones Paul R. and Meredyth Jones Mary Kalmes and
Larry Friedman
Ml', ii and Shcrri Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Alex and Phyllis Kato Deborah and Ralph Katz Allan S. Kaufman, M.D. Dennis and Linda Kayes Brian Kelley Richard Kennedy Linda D. and Thomas E. Kenney George L. Kenyon and
Lucy A. Waskell
David J. and JoAnn Z. Kcosaian Nancy Keppclman and
Michael Smerza John Kiely
Paul and Leah Kileny Jeanne M. Kin Howard King and Elizabeth
Sayre-King
Jean and Arnold Kluge Dr. and Mrs. William L. Knapp Rosalie and Ron Koenig Michael J. Kondziolka Alan and Sandra Kortesoja Dr. and Mrs. Richard Krachenberg Jean and Dick Kraft Barbara and Ronald Kramer Doris and Don Kraushaar Edward and Lois Kraynak Sara Kring William G. Kring Alan and lean Krisch Mr. and Mrs. John Lahiff Tim and Kathy Laing Mr. and Mrs. Seymour Lampcrt Henry and Alice Landau David and Darlcne Landsittel Jerry and Marilyn Largin Carl F. and Ann L. LaRuc Judith and Jcrold Lax Fred and Ethel Lee Diane Lehman Jeffrey Lehman Ann M. Leidy Richard and Barbara Leite Derick and Diane Lenters Richard LeSucur David E. Levinc Harry and Melissa LeVine George and Linda Levy David Lewis
Norman and Mira Lewis Ralph and Gloria Lewis Robert and Julie Lewis Tom and Judy Lewis Arthur and Karen Lindenberg Mark Lindley and Sandy Talbott Dr. and Mrs. Richard H. Lineback Michael and Debra Lisull Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F. A. Locke Dr. Lennart H. Lofstrom fulie M. Loftin fane Lombard David Lootens Florence Lopatin Armando Lopez Rosas Barbara R. and Michael Lott Christopher and Carla Loving Lynn Luckcnbach Marjory S. Luther Elizabeth L. Lutton William T. Lyons Walter Allen Maddox Morrine Maltzman Pia Maly Sundgren Pearl Manning
Sheldon and Geraldine Market
Erica and Harry Marsden
Irwin and Fran Martin
H.L. Mason
Wendy Massard
Debra Mattison
Janet Max
Glenn D. Maxwell
Carole Mayer
Olivia Maynard and
Olof Karlstrom Patrick McConnell Bob and Doris Melling Allen and Marilyn Mcnlo Lori and Jim Mercier Arthur and Elizabeth Messitcr Helen Melzner Don and Lee Meyer Mrs. Suzanne Meyer Leo and Sally Miedler William and )oan Mikkclscn Carmen and Jack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogcrman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Seigo Nakao Jean Marie Moran and
Stefan V. Chmielewski Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morlcy A. A. Moroun John and Michelle Morris Rick Motschall James and Sally Mueller Bernhard and Donna Muller Marci and Katie Mulligan Lisa Murray and Mike Gatti Lora G. Myers Lorraine Nadelman and
Sidney Warschausky Arthur and Dorothy Nesse Sharon and Chuck Newman William and Ellen Newsom Mr. and Mrs. James K. Newton John and Ann Nicklas Mrs. Marvin Niehuss Richard and Susan Nisbett Donna Parmelee and
William Nolting Christer and Outi Nordman Richard and Caroline Norman Richard S. Nottingham Jolanta and Andrzej Nowak Patricia O'Connor Maury Okun and Tina Topalian Elizabeth Olson and Michele Davis Nels R. and Mary H. Olson Paul L. and Shirley M. Olson Kathleen I. Operhall Fred Ormand and
Julia Broxholm
David Orr and Gwynne Jennings Dr. Jon Oscherwitz Mr. and Mrs. James R. Packard Daniel and Laura Palomaki Anthea Papista Donna D. Park Bill and Katie Parker Sarah Parsons Robert and Arlene Paup William and Susan Penner Steven and Janet Pepe Mr. Bradford Perkins Susan A. Perry
Advocates, continual
Douglas Phelps and
Gwendolyn Jessie-Phelps Nancy S. Pickus Robert and Mary Ann Pierce William and Betty Pierce Dr. and Mrs. James Pikulski Susan Pollans and Alan Levy Patricia I. Pooley Robert and Mary Pratt Jacob M. Price Tony and Dawn Procassini Lisa M. Profera Ernst Pulgram fonathan Putnam Dr. G. Robina Qualc-Leach Mr. and Mrs. Mitchell RadclitT Dr. and Mrs. Robert Rapp Mr. and
Mrs. Robert H. Rasmussen Maxwell and Marjorie Reade Richard and Patricia Redman Michael I. Redmond Russ and Nancy Reed Dr. and Mrs. lames W. Reese Mr. and Mrs. Stanislav Rehak Mr. and
Mrs. Bernard E. Reisman I. and S. Remen Anne and Fred Remley Duane and Katie Renken Nancy Reynolds Alice Rhodes Lou and Sheila Rice Walton and Sandra Rice lames and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
Dave and loan Robinson lanet K. Robinson, Ph.D. lim and Kathleen Robinson Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Michael . and Yelena M. Romm Edith and Raymond Rose Elizabeth A. Rose Stephen Rosenblum and
Rosalyn Sarver Richard Z. and
Edie W. Rosenfeld Charles W. Ross Dr. and Mrs. Walter S. Rothwcll William and Lisa Rozek Gladys Rudolph Dr. Glenn R. Ruihley Scott A. Ryan Mitchell and Carole Rycus James and Ellen Saalberg Joan Sachs Brian Salesin Ms. Stephanie Savarino Sarah Savarino Jeri Sawall
Drs. Edward and Virginia Sayles Jochen and Helga Schacht Mary A. Schievc Courtland and Inga Schmidt Elizabeth L. Schmitt Susan G. Schooner Dietrich and Mary Schulze Peter and Kathleen Scullen Frank and Carol Seidl Suzanne Selig Janet Sell
Louis and Sherry Senunas Richard H.Shackson Terry Shade Matthew Shapiro and
Susan Garelz David and Elvcra Shappirio
Larry Shear and
George Killoran lngrid and Cliff Sheldon Bright Sheng Lorraine M. Shcppard Patrick and Carol Sherry Mary Alice Shulman Jan Onder
Douglas and Barbara Siders Dr. Bruce M. Siegan Eldy and Enrique Signori Susan Silagi
Costella Simmons-Winbush Mildred Simon Michael and Maria Simonte Alice A. Simsar Alan and Eleanor Singer Scott and Joan Singer Donald and Susan Sinta Bernard I. Sivak and
Loretta Polish Beverly N. Slater David E. Smith Don and Dorothy Smith Haldon and Tina Smith Dr. and Mrs. Michael W. Smith Paul and Julia Smith Susan E. Smith Mr. Webster Smith Hugh and Anne Solomon James A. Somers Dr. Sheldon and Sydellc Sonkin Errol and Pat Soskolne Bccki Spanglcr and Peyton Bland Peter Sparling and
John Gutoskey Elizabeth Spencer and
Arthur Schwartz Steve and Cynny Spencer im Spevak
Judy and Paul Spradlin Charles E. Sprogcr Constance D. StankraufT Mr. Stephen S. Stanton Stephanie and Chad Stasik Mr. and Mrs. William C. Stebbins Virginia and Eric Stein Dr. Georgine M. Stcude Jim and Gayle Stevens Sue A. Stickel John and Beryl Stimson James L. Stoddard Mr. and Mrs. James Bower Stokoe Bob and Shelly Stoler Benjamin and Mona Stolz Eric and Ines Storhok Clinton and Aileen Stroebel Thomas Stulberg Roger Slutcsman Nancy Bielby Sudia Earl and Phyllis Swain Mike and Donna Swank Thomas and Anne Swantek Richard and June Swartz Michael W. Tart and
Catherine N. Herrington Larry and Roberta Tankanow Gerald and Susan Tarpley Michael and Ellen Taylor Sharon Gambin and
Robert Teichcr lames B. Terrill
Dcnisc Thai and David Scobey Mary H. Thieme Carol and Jim Thiry Catherine Thoburn Norman and Elaine Thorpe Michael Thouless Ann;i Thuren Peggy Tieman
Bruce Tobis and Alice Hamele
Ronald and Jacqueline Tonks
John and Geraldine Topliss
Sarah Trinkaus
Kenneth and Sandra Trosien
Roger and Barbara Trunsky
leff and Lisa Tulin-Silver
Michael Udow
Mr. Thomas W.Ufer
A Ivan and Katharine Uhle
Paul and Fredda Unangst
Bernice G. and
Michael L Updike Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Bram and Lia van Leer Fred and Carole van Reesema Virginia Vass Sy and Florence Veniar Katherine Verdery Ryan and Ann Verhey-Henke Marie Vogt
Harue and Tsuguyasu Wada Virginia Wait David C. and
Elizabeth A. Walker Timothy Wang Jo Ann Ward
Drs. Philip and Maria Warren Arthur and Rcnata Wasserman Leo Wasserman Mr. and Mrs. Warren Watkins loan D. Weber
Richard and Madclon Weber Carolyn I. Weigle Donna G. Weisman John, Carol and Ian Welsch John and Joanne Werner Michael and Edwenna Werner Helen Michael West Paul E. Duffy and
Marilyn L. Wheaton Mary Ann Whipple Gilbert and Ruth Whiukcr James B. and Mary F. White Thomas F. Wieder William and Cristina Wilcox Sara S. Williams Shelly F. Williams Anne Marie and Robert J. Willis Donna Winkelman and
Tom Easthope
Sarajane and Jan Winkelman Mark and Kathryn Winterhalter Julie M. Wolcott Ira and Amanda Wollner Richard E. and Muriel Wong Ronald and Wendy Woods Stan and Pris Woollams Israel and Fay Woronoff Alfred and Corinne Wu Patricia Wulp Robert Wurtz Fran and Ben Wylic John and Mary Jean Yablonky James and Gladys Young Mayer and Joan Zald Sarah Zearfoss and
Stephen Hiyama Susan Zerweck
CORPORATE FUND $100,000 and above
Ford Motor Company l;und Forest Health Services
Corporation Pfizer Global Research and
Development: Ann Arbor
Laboratories University of Michigan
$20,000-$49,999 Borders Group, Inc. DaimlerChrysler
Corporation Fund Office of the Senior Vice
Provost for Academic Affairs TIAA-CREF Individual and
Institutional Services, Inc.
$10,000-$ 19,999 Bank of Ann Arbor Bank One lirauer Investments CFI Group, Inc. DTE Energy Foundation KeyBank
McDonald Investments, Inc. McKinley Associates, Inc. Sesi Lincoln Mercury
Volvo Mazda Thomas B. McMullen
Company, Inc.
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Comerica Incorporated Dennis Dahlmann Inc. Edward Surovell Realtors Flastiell Corporation of
America
Learning Express-Michigan MASCO Charitable Trust Miller Canfield Paddock and
Stone, P.L.C. National City Bank Pepper Hamilton LLP
$l,000-$4,999 Alf Studios Blue Nile Cafe Marie
Chase Manhattan Mortgage Comcast Holcim(US)Inc. Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bank TCF Bank
$100-$999 Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus BKK Dupuis&Ryden, P.C. Burns Park Consulting Cemex Inc.
Clark Professional Pharmacy Coffee Express Dr. Diane Marie Agresta Edward Brothers, Inc. Fleishman Millard Inc. Galamp Corporation Garris, Garris, Garris
& Garris, P.C. Guardian industries Malloy Lithographing Michigan Critical Care
Consultants Quinn EvansArchitects Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShcvel Gallery Swedish Women's Educational
Association Thalner Electronic
Laboratories Inc.
FOUNDATION AND
GOVERNMENT
SUPPORT
IMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
The Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
$50,000-$99,999 Community Foundation for
Southeastern Michigan The Whitney Fund
$10,000-549,999 Association of Performing Arts
Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for
the Arts National Dance Project
$l,000-$9,999
Arts Midwest Gelman Educational
Foundation Heartland Arts Fund The Lebensfeld Foundation Mid-America Arts Alliance Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(ofR. and P. Heydon) Sarns Ann Arbor Fund Rosalie EdwardsVibrant Ann
Arbor Fund
$100-$999 Erb Foundation Maxinc and Stuarl Frankd Foundation
TRIBUTE GIFTS
Contributions have been received in honor amior memory of the following individuals:
Esscl and Mcnakka Bailey
T. Earl Douglass
Alice Kelsey Dunn
Michael dowing
Dr. William Haeck
Carolyn Houston
Harold Jacobson
Joel Kahn
Elizabeth E. Kennedy
Ted Kennedy, Jr.
William McAdoo
Frederick N. McOmber
Gwen and Emerson Powrie
Professor Robert Putnam
Ruth Putnam
StcfTl Reiss
Margaret Rothstein
Eric H. Rothstein
Ned Shu re
Dora Maria SonderhofT
Wolfgang F. Stolper
Diana Stone Peters
Isaac Thomas
Charles R. Ticman
Francis V. Viola HI
Horace Warren
Carl H.Wilmot
Peter Holderncss Woods
Elizabeth Yhouse
BURTON TOWER SOCIETY
The Burton Tower Society recog?nizes and honors those very spe?cial friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational opportunities and community partnerships in future years.
Anonymous
Carol and Herb Amster
Dr. and Mrs. David G. Anderson
Mr. Neil P.Anderson
Catherine S. Arcure
Mr. Hilbcrt Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Barbara Bveritt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Bcvcrley and Gerson Gellner lolin and Martha Hicks Mr. and Mrs. Richard Ivcs Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Nichoff Dr. and
Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L Rodgers Prudence and
Amnon Roscnthal It in.IJ. Skelnar I lerfoert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
ENDOWED FUNDS
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure Endowment
Fund
Choral Union Fund Hal and Ann Davis Endowment
Fund
Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund
IN-KIND GIFTS
A-1 Rentals, Inc
Kaqucl and IWrnard AgranofT
Alexandra's in Kerrytown
Amadous Ctft
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
Avanti ILiir Designers
The Bftck Alley Gourmet
Barnes Ace Hardware
Lois and David Bam
Baxter's Wine Shop
Kathleen Beck
Bella Ciao Trattoria
Kathy Benton and Bob Brown
Bivouac
The Blue Nile Restaurant
Bodywisc Therapeutic Massage
Muni and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Iiocl!
Tana Breiner
Barbara everitt Bryant
By the Pound
Cafe Marie
Cappellos Hair Salon
Coach Me Fit
Bill and Nan Conlin
M.C. Conroy
Hugh and Elly Cooper
Cousins Heritage Inn
Roderick and Mary Ann Daane
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Derkacz
The Display Group
Dough Boys Bakery
TheEarie
Eastover Natural Nail Care
Katherine and Damian Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauscr
John's Pack & Ship
Steve and Mercy Kasle
Cindy Kcllerman
Kerrytown Bistro
Kilwm's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
LeDoc
Ixropold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstrcct Ventures
Hrnest and Jeanne Merlanti
lohn Metzger
Michael Susannc Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Mclinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station R.indy Parruh line Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Sloeffler STUDlOsixteen Two Sisters Gourmet Van Bovcns
Washington Street Gallery Whole Foods Webert Restaurant Zanzibar
UMS ADVERTISERS
20 Alden B. Dow Home
& Studio
40 Ann Arbor Builders 42 Ann Arbor Symphony
Orchestra 44 Automated Resource
Management, Inc. 24 Bank of Ann Arbor
42 Bellanina Day Spa 44 Beresh Jewelers
22 Bodman, Longley and
Dahling, LLP 18 Butzel Long 52 Charles Reinhart
Realtors 22 Chelsea Musical
Celebrations 10 Comerica, Inc. 34 Dr. Regina Dailey 38 Dobson McOmber 20 Edward Surovell
Realtors
22 Forest Health Services 24 Fraleigh's Nursery 56 Glacier Hills 38 Howard Cooper
Import Center
43 Huron Valley Tennis Club
34 IATSE Local 395 38 Journeys International 12 Kellogg Eye Center 43 Kerrytown Bistro
44 Key Hank 18 King's Keyboard 13 Lewis Jewelers 24 Littlefield & Sons
Furniture Service 40 Miller, Canfield,
Paddock & Stone 34 Mundus and Mundus 22 National City Bank--
Private Investment
Advisors
47 Performance Network 20 Q Ltd. 34 Red Hawk Bar and
GrillZanzibar 34 Rudolf Steiner School
of Ann Arbor 24 Sweetwaters Cafe 40 Ufer&Co. 38 UM Museum of Art 32 UMS Development 16 UM School of Music 40 United Bank & Trust 42 University Commons
Blue Hill
Development 28 WDET 10 WEMU 32 WGTE 30 WKAR C WUOM