UMS Concert Program, Sunday Oct. 23 To 30: University Musical Society: 1994-1995 Fall - Sunday Oct. 23 To 30 --

Season: 1994-1995 Fall
The University Of Michigan, Ann Arbor

In the
America
Grain:
The Martha Graham Centenary Festival
"Music must take rank as the highest of the fine arts--as the
ONE WHICH, MORE THAN ANY OTHER, MINISTERS TO HUMAN WELFARE."
Herbert Spencer, 1861
@@@@Jacobson's salutes the University Musical Society
for their continued contributions to the elevation
of the human spirit through music.
We have expanded our store hours for your convenience: Monday through Saturday, 10 am to 9 pm Sunday, Noon to 6 pm
Jacobson's
BRIARWOOD MALL. ANN ARBOR
Univenity Muiicsl Society
Tht Unnvnit) of Mtchgun Bunon Memorial Ibwci Ann Arbor. Michigan 481091270
Dear UMS Patrons,
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199495 season comes to a close in May. the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understanding ard appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a midwest community of
110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it, and I'm proud to tell them. Here's what 1 say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they ore among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined that the UMS could best serve the community if the UMS had a measure of artistic and financial independence from the University. While the UMS is proudly affiliated with the University, is housed on the campus, and collaborates regularly with many University units, it is a separate notforprofit organization with its own Board of Directors and supports itself solely from ticket sales, other earned income, and grants and contributions. This kind of relationship between a presenting organization and its host institution is highly unusual, but it has contributed significantly to our being able to be creative, bold, and entrepreneurial in bringing the best to Ann Arbor.
The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can YoYo Ma, James Galway, Kathleen Battle. Ifzhak Pertman, or Cecilia Bartoli perform a recital before 4,300 people and know that their pianissimos can be heard unamplified by everyone
Our talented, diverse, and dedicated Board of Directors, drawn from both the University and the regional community, provides outstanding leadership for the UMS. The 200voice Choral Union, 35member Advisory Committee, 275member usher corps, and hundreds of other volunteers contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally, I've got a wonderful group of hardworking staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 7471174.
Sincerely,
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of VMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you. our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels .
James W. Anderson, Jr. President, The
Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
Owner
Brauer Investment
Company
"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."
Howard S. Holmes Presidenl Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Joseph Curtin and Greg Alf
Owners. Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
President
First of America
BankAnn Arbor
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
A Salute To Our Corporate Angels ..
L. Thomas Conlin
Chairman of ihe Board and Chief Executive OfficerConlinFaber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Chairman
Ford Motor Credit
Company
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's longestablished commit?ment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Alex Trotman
Chairman, Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and last year, we were pleased to underwrite its centenary."
Robert J. Delonis
President and Chief Executive Officer Great Lakes Bancorp
"As a longstanding member of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is"enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Mark K. Rosenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
Dennis Serras Presideni Mainstreet Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia Chairman and Chiel Executive Officer Detroit Edison
"The University Musical Society is one of the organizations that make the Ann Arbor community a worldrenowned center for the arts. The entire commu?nity shares in the countless benefits of the excellence of these programs."
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Jo E. O'Neal
President, O'Neal Construction
"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."
Michael Slaebler
Managing Partner Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our plea?sure to be among your supporters."
Iva M. Wilson
President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
George H. Cress
Chairman, President, and Chief Executive Officer Society Bank, Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commit?ment to excellence."
Edward Surovell
President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Sue S. Lee, President
Regency Travel Agency, Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Ronald M. Cresswell, Ph.D.
Vice President and
Chairman
Pharmaceutical
Division,
Warner Lambert
Company
"WarnerLambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our ParkeDavis Research Division employ?ees in Ann Arbor."
Dr. James R. Irwin
Chairman and CEO. The Irwin Group of Companies President, Wolverine Temporary Slaffing Services
"Wolverine Staffing began its support of the Universitiy Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society
of the University of Michigan
Board of Directors
Herbert S. Amster President
Norman G. Herbert Vice President Carol Smokier Secretary Richard H. Rogel Treasurer
Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Lelitia J. Byrd Leon Cohan Jon Cosovich
Advisory Committee
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Bolsford Jeannine Buchanan Letilia Byrd Betty Byme Pat Chatas Chen Oi ChinHsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandt Kathleen Treciak Hill Matthew Hoffman JoAnne Hulce
Staff
Kenneth C. Fischer Executive Director
Catherine S. Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Sally A. Cushing Erika Fischer Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull
Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert E. Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Beck Maly Charlotte McGeoch Margaret McKinley Clyde Metzger Ronald G. Miller Karen Koykka O'Neal Marysia Ostafin Maya Savarino Janet Shatusky Aliza Shevrin Ellen Stross James Telfer, M.D. Susan B. Ullrich Jerry Weidenbach Jane Wilkinson
Judy Fry, Staff Liaison
Erva Jackson John B. Kennard, Jr. Michael J. Kondziolka Thomas Mull R. Scott Russell Thomas Sheets Helen Siedel Jane Stanton
Morning Bishop
Arts Midwest Minority Arts
Administration Fellow
Donald Bryant Conductor Emeritus
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap.
The University Musical Society is supported by the Michigan yOc A Council for Arts and Cultural Affairs, and Arts Midwest f? and Friends in Partnership with the National Endowment for the Arts.
General Information
University Musical Society Auditoria Directory and Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east
and west sides of the main lobby and are open only
during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free selfserve coat racks may
be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on the
east and west sides of the first and second balcony
lobbies.
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on the
north side of the main lobby and on the lower level,
next to the restrooms.
Michigan Theater: Drinking fountains are located
in the center of the main floor lobby.
Handicapped Facilities All auditoria now have barrierfree entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchairaccessible public
telephone is located at the west side of the outer
lobby.
Rackham Auditorium: Pay telephones are located
on each side of the main lobby. A campus phone is
located on the east side of the main lobby.
Power Center: Pay phones are available in the
ticket office lobby.
Michigan Theater: Pay phones are located in
the lobby.
Refreshments
Refreshments are served in the lobby during intermis?sions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchairaccessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level. Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobilityimpaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call (313) 7633100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children
We welcome children, but very young children can be disruptive to a performance. Children under three years of age will not be admitted to any performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping
and chiming digital watches or pagers during
performances.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
University Musical Society
of the University of Michigan
Now in its 116th season, the University Musical Society ranks as one of the oldest and most highlyregarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as The Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The UMS Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affiliated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, of course, the Choral Union refers not only to the chorus but the Musical Society's acclaimed tenconcert series in Hill Auditorium.
Through the Chamber Arts Series, Choral Union Series, Choice Events, and the annual May Festival celebration, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions and presenta?tions from diverse cultures. The Musical Society has flourished these 116 years with the support of a generous music and artsloving commu?nity, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, Vienna Philharmonic Orchestra, Sweet Honey in the Rock, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, Beaux Arts Trio, Alvin Ailey, Cecilia Bartoli, and the Chicago Symphony Orchestra. In May of 1993, the Musical Society celebrated
its 100th Ann Arbor May Festival with performances by the Metropoliatan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kitt, the Detroit Symphony Orchestra, the University Choral Union, and other artists.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, programs for young people, and collaborative projects.
While it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the Musical Society is a separate, notforprofit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 116year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano, and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles. In 1993, the UMS Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
A highlight of the UMS Choral Union's 1993 1994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit
Symphony Orchestra conducted by Neeme Jarvi, to be released this November by Chandos International.
During this season the UMS Choral Union will join the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, present A Celebration of the Spiritual with Dr. Jester Hairston, and perform the Mahler Symphony 2 (Resurrec?tion), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniversary of VE Day, performing Britten's War Requiem in Toledo under the direction of Andrew Massey.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went on to form the University Musical Societythe following year. Representing a mixture of townspeople, students, and faculty, members of the UMS Choral Union share one common passion -a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated by the 20th Annual Ann Arbor May Festival and has since been home to thousands of Musical Society concerts, including the annual Choral Union series, throughout its distinguished 80year history.
Former UM Regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial
Organ above the stage. UMS obtained this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the UM's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Power Center for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
The fall of 1991 marked the twentieth anniversary of the Power Center. The Power Family -Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip -contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS now hosts its annual weeklong theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 1520,1994.
Rackham Auditorium
For over 50 years, this intimate and unique concert hall has been the setting for hundreds of worldacclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semicircular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The presentday Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
University
Musical
Society
of the University of Michigan Fall Season
Event Program Book
Sunday, October 23, 1994
through
Sunday, October, 30, 1994
116th.Annual Choral Unior Series Hill Auditorium
_j2nd Annual Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
In the American Grain: The Martha Graham Centenary Festival
The Michigan Chamber Players ii
The Music of Martha Graham
Sunday, October'23, 1994, 4:00 pm Rackham Auditorium
Martha Graham Dance Company Performances
Program I 17
Friday, October 28, 1994, 8:00 pm Power Center
Family Performance 27
Saturday, October 2g, 1994, 2:00 pm' Po.wer Center
Program II 33
Saturday, October .29, 1994, .8:00 pm Power Center
Program III 1
Celebration of an American Masterwork:
Appalachian Spring
Sunday, October 30, 1994, 2:00 pm
Power Center 1
continued
Festival Participants 46
Complete Festival Schedule 53
This project is made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is adtiinistered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling Fund and Arts Midwest members and friends in partnership with the NationalEndowment for the Arts, and the Michigan Council for Arts and Cultural Affairs. i
General Information
We welcome children, but very young children can be disruptive to some per?formances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone.must have a ticket, regardless of age.
While in the Auditoriuvk
StartingTime , __
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 not allowed in the auditorium. If you'have a question, ask your usher. They arc 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, lerfjing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emcrgcncy,_advisc your paging service of auditorium and seat location and ask them to call University Security at 7631131. (
In the interest of saving both dollars and the environment, please keep this program book and bring it with you when you attend other UMS perfor?mances included in this edition. Thank you for your help.
" Jk '?Vlc.....e to the
A Jk M Martha Graham
A L Centenar)
I L Festival, and K thank you for W W the support you
? f are giving it by
your attendance at this event.
It was twoyears ago when we had our first of many meetings in New brk City with our colleagues from the Martha Graham Center for Contemporary Dance to explore the prospects of working together on a pro?ject. They reminded us that 1994 would be the centennial year of Martha Graham's birth and the fiftieth anniversary of the pre?miere of Appalachian Spring. We talked about the extraordinary impact Martha Graham had had, not only on dance but on music, theater, visual arts, and the lives of women.
What better place to celebrate these milestones and to explore these many facets of her fascinating life, than on a university campus with strong programs in dance, the?ater, and music, with an outstanding art museum and humanities institute, and with one of the country's pioneering centers for the education 0 women On top of this we could offer outstanding performance and meeting facilities, a performing arts present?ing organization to present the performances and produce.a major residency, and finally, a former principal dancer of the Graham Company who could provide a special link to this legendary figure and her company. We invited our Graham Company colleagues to join us in developing a project at Michigan, and they quickly accepted.
The next challenge was to find the financial resources. The Washingtonbased Association of Performing Arts Presenters, thanks to the generosity of the Lila WallaceReader's Digest Fund, had been given stew?ardship over funds through its Arts Partners Program to encourage presenters through?out the country to create projects that
would develop audiences fbr the perform?ing arts. We gathered our prospective pro?ject partners together during the summer and fall of 1993 and developed a proposal for a project that would include a residency of the Martha Graham Dance Company in Ann Arbor. The project's objectives would be: 1) to deepen the commitment of the existing dance audience; 2) to bring new audiences to dance through other art forms; 3) to enable dancers in the community to work with dancers from the Graham compa?ny. In February of 1994 we received a $130,000 grant from the Arts Partners Program.
What you see in this program book is the result of the work that this grant and additional major funding from the Grayling Fund and Arts Midwest Dance on Tour has enabled the twelve project partners to undertake together. We thank those respon?sible for these grant programs for their gen?erous gifts. We also thank our wonderful partners for their imagination, hard work, and dedication throughout the entire project. And we thank the dancers and musicians for their performances; the students, friends, and collaborators of Martha Graham for sharing their experiences; the dance writers and scholars for their observations and per?spectives; and the volunteers for their valuable contributions to the success of the Festival.
Finally, we thank you, the audience, for allowing your lives to be touched by the legacy of a true American original, Martha Graham.
Kenneth C. Fischer Peter Sparling
Executive Director, Chair,
University Musical Society UM Dance Department
Martha Graham Dance Company
Founder, Dancer and Choreographer Martha Graham
Artistic Director Ronald Protas
Associate Artistic Director Diane Gray
Principal Conductor Stanley Sussman
Martha Graham School of Contemporary Dance
Founding Director Georgia Graham Sargeant
Executive Director . Diane Gray
Dancers
Elizabeth Auclair Ethan Brown Kathy Buccellato Mario Camacho Terese Capucilli Katherine Crockett Christine Dakin Janet Eilber Floyd Flynn Donlin Foreman Gary Galbraith Joyce Herring
Costumes Martha Graham Halston Calvin Klein
Sandra Kaufmann Martin Lofsnes Peter London Rika Okamoto Miki Orihara Alessandra Prosperi Pascal Rioult Matthew Rose Kenneth Topping Denise Vale Myra Woodruff
Scenery
Isamu Noguchi
Apprentices Andreas Bjorneboe Virginie Mecene Gisella Speranza Amanda Thomas
Lighting
fteverly Emmons David Finley Jean Rosenthal Steven L. Shelley Thomas Skelton
Executive Director Barbara Groves
General Manager William Ferry
Rehearsal Director Carol Fried
Costumer Russ Vogler
Centennial Artistic Advisors
Ethel Butler Jane Dudley Stuart Hodes
Pearl Lang Peggy Lyman ' Sophie Maslow
The Martha Graham Centennial Celebration is sponsored by Philip Morris Companies, Inc.
Transportation for the1994 Centennial Tour has been supported by the Richard Driehaus Foundation,
The Board of Trustees of the Martha Graham Center of Contemporary Dance, Inc. wishes to express its appreciation to die following patrons whose extraordi?nary dedication and generosity make possible the activities of the Martha Graham Dance Company and School: Mr. &: Mrs. Frank Millard, The National Endowment for die Arts, The New York State Council on the Arts, City of New York Department of Cultural Affairs, Theatre Development Fund and Twyla Tharp.
Additional support provided by the Doris Duke Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc. and The Harkness Foundations for Dance.
Appearing courtesy of American Ballet Theatre
artha Graham i (Founder, Dancer and Choreogra?pher) was recog , nized as a primal force from the ? beginning of her career. She has been compared to Picasso and Stravinsky because of her unquestion?able dominance of her art. Choreographers and dancers acknowledge that Martha Graham made the single most significant contribution to dance in this century with her original movement technique and her monumental body of dance works. The choreographic work of Martha Graham is extraordinary for its size, 181 ballets, which include many classics of American modern dance.
Most of the major choreographers in modern dance in America have been stu?dents of Martha Graham Technique or have danced in her Company, including Merce. Cunningham, PaulTaylor and Twyla Tharp.. Through her course entitled "Movement for Actors," leading actors came to study with Martha Graham. It is a list that includes Bette Davis, Kirk Douglas, Gregory Peck, Tony Randall, Rip Torn, Eli Wallach, Anne Jackson, Richard Boone, Lome Greene, Joanne Woodward, Diane Keaton and Woody Allen.
Martha Graham's encouragement of and collaboration with contemporary com?posers earned her the Laurel Leaf of the
American Composers Alliance for her ser?vice to music. Her influence on all the arts was recognized by the Aspen Award in Humanities. In December 1979 she was a recipient of the Kennedy Center Honors in
, recognition of her significant lifelong con?tributions to American culture. In 1981 the Samuel H. Scripps American Dance Festival Award cited her as "Most American of Artists, whose genius is synonymous with modern dance. Great dancer, great choreographer, she is a"supreme innovator." In February 1982 the Meadows School of the Arts, Soiimern Methodist University in Dallas, Texas, honored Martha Graham by present?ing her the Algur H. Meadows Award for Excellence in the Arts, and cited her as one
? who "symbolizes the continuity of our artis?tic heritageand the inspiration which one generation can provide the next." In 1983 Bryn Mawr College awardeder the M. Carey Thomas Prize. On January 23, 1984 on the stage of the Paris Opera House, by decree of, thePresident of the Republic of France, Martha Graham was made a Knight of the French Legion of Honor. On April 14, 1985 Princess Christina of Sweden presented the Carina An Medal to Martha Graham on the stage of the New York State Theater at Lincoln Center. Her colleagues in the theater, the members of the International Alliance of Theatrical Stage Employees, Local One, voted her the recipient of the 1986 Local One Centennial Award for dance, an award given in honor of the union's centennial
Martha Graham
and not to be awarded again for another 100 years. President Gerald R. Ford present?ed Martha Graham with the United States' highest civilian honor, the Medal of Freedom, in October 1976, officially proclaiming her a "National Treasure" and marking the first time the medal has been "awarded to a dancer and choreographer. President Ronald Reagan designated Martha Graham among the first recipients of the United States' National Medal of Arts, presenting the award in a White House ceremony on April 23 1985.
Iri 1990 ,Life Magazine selected Martha Graham as one of the 100 Most Important Americans of theTwentieth Century. On February 25, 1991 the Council of Fashion Designers of America awarded her its Lifetime Achievement Award.
Martha Graham was born in Allegheny, Pennsylvania on May 11, 1894 and died in New York City on April 1, 1991. Her autobi?ography, Blood Memory, was published by Doubleday in September, 1991.
Martha Graham Honors & Awards
ig5g Laurel Leaf of the American
Composers Alliance 1963 Brandeis University Creative Arts Award
1966 Aspen Award in Humanities Lotus Club Award
1967 City Club of New York Distinguished
New Yorker Award
1968 Society for the Family of Man Award
1976 Medal of Freedom, President Gerald R. Ford
1979 Kennedy Center Honors
1981 Samuel H. Scripps American Dance
Festival Award, First Recipient' City of Buffalo Award, Buffalo, New York State of New York Citadon,
Governor Hugh Carey
ig82 Algur H. Meadows Award for Excellence in
the Arts, Souuhern Methodist University
1983 M. Carey Thomas Prize, Bryn Mawr College ' Artpark Award, Lewiston, New York
American Academy and Institute of Arts and Letters, Honorary Member
City of Chicago Citation, Mayor Harold Washington
Bravo Award, San Antonio Performing Arts Association
1984 Ethel M. Barber Visiting Artist Medal,
Northwestern University Gold Florin, City of Florence French Legion of Honor, Chevalier 1
1985 Plaudit Award, National Dance Association Actor's Fund of America Honorary Award Night of 100 Stars II Life Achiever's Award Carina An Medal of Sweden
National Medal of Arts,
f President Ronald Reagan, First Recipient
. Arnold Gingrich Memorial Award, Arts &
Business Council, Inc. La Grande Medaille de Vermeil de Paris
1986 Centennial Achievement Award,
iatse Local One
Honorary Citizen of Tennessee Award, Chattanooga
1987 Premio Porselli Award, Reggio Emilia, Italy
1988 Certificate of Appreciation, Tucson, Arizona ig8g City of Bari Award, Ban, Italy
Seal of the City of Pittsburgh, Pennsylvania City of Boston Award, Boston, Massachusetts
1990 Order of the Precious Butterfly with
Diamond, Emperor Akihito, Tokyo, Japan
1991 Lifetime Achievement Award, Council of
Fashion Designers of America
Guggenheim Fellowship Capezio Award . Family Weekend Magazine National
Treasure Award 'San Jose Award Royal Medal, Jordan
Honorary Degrees
Chatham College, 1959 Rutgers University, 1959 Wheaton College, 1962 Brandeis University, 1963 Wayne State University, 1964 Harvard University, 1966 Mills College, 1966 Yale University, 1971 Wesleyan University, 1971 Marygrove College, 1973
Martha Graham in Ann Arbor
n the American Grain: The Martha Graham Centenary Festivalis the fruition of many months of planning by community collaborators. More importantly, it is the culmination (and continuation) of a rich tradition of Martha Graham and Martha Graham Dance Company presentations in Ann Arbor over the last 68 years. The complete catalogued list of Graham's ballets begins on April 18, 1926 with a performance by Martha Graham and Concert Group (sometimes denoted as Martha Graham and Dance Group) of herballet Chorale set to the music of Cesar Frank. The premiere was staged at New York City's 48th Street Theatre. For the next twelve years (1926 1932) the center of Graham and her group's activity was New York City during which she premiered 78 ballets. She did sporadU cally take her group outside New York City for an occasional performance: The Kilbourn Hall in Rochester, N.Y. (1926); Mariarden, Peterboro, N.H. (1926); Ithaca, N.Y. (1927); Millbrook, N.Y. (1929).
It is remarkable to note" that Martha Graham's first excursion outside "the East" (from those in the known cata?logue of her works) was to The University of Michigan, Ann Arbor and its Lydia Mendelssohn Theatre. The performances were on June 2 and 3, 1932, and included three world pre?mieres: Offering (solo dancer, Martha Graham), choreogra?phy Martha Graham to music of Heitor VillaLobos; Ecstatic Dance (solo dancer, Martha Graham), choreography Martha Graham to music of Tibor Harsanyi, costumes and lighting by Martha Graham; Bacchanals No. 2 (solo dancer, Martha Graham), choreography Martha Graham to music of Wallingford Reigger, costumes and lighting by Martha Graham. The sponsor was the University's Dramatic Series. Since those early performances, Martha Graham and the Martha Graham Dance Company have played an impor?tant part in the cultural life of Ann Arbor. This residency marks the company's eighth visit to Ann Arbor and the University Musical Society.
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Joyce Herring, Martha Graham Dance Company, in Lamentation
University Musical Society presents
In the American Grain: The Martha Graham Centenary Festival
The Michigan Chamber Players
of the University of Michigan School of Music
Stanley Sussman Guest Conductor
Program
Sunday Afternoon, October 23, 1994 at 4:00
Rackham Auditorium Ann Arbor, Michigan
The Music of Martha Graham
Gian Carlo Menotti (b. 1911)
Errand into the Maze
Violin Andrew Jennings, Elizabeth Rust,
Stephen Shipps, Kirsten Yon
Viola Dan Heim, Yizhak Schotten
Cello Alicia Rowe, Felix Wang
Bass. . Stuart Sankey
Flute Leone Buyse
Oboe Harry Sargous
Clarinet Deborah Chodacki
Bassoon Richard Beene
French horn Peter Witte
Percussion Mike Udow
Piano Gretchen Roberts
Sixth Concert of the 116th Season
Special Concert .
Zoltdn Koddly (18821967)
Klavierstucke, Op. 3,0.2
Piano Stephen Rush
Intermission
s
Aaron Copland (19001990)
Appalachian Spring (Ballet for Martha)
Violin Andrew Jennings, Elizabeth Rust,
Stephen Shipps, Kirsten Yon
Viola Dan Heim, Yizhak Schotten
Cello Felix Wang, Alicia Rowe
Bass Stuart Sankey
Flute Leone Buyse
Clarinet Fred Ormand
Bassoon Richard Beene
Piano Katherine Collier
Thanks to Richard Crawford, UM Professor of Music History and Musicology, speaker at this afternoon's Philips Educational Presentation.
Thanhs to Stephen Shipps, UM Associate Professor of Music, for his assistance in coordinating this concert.
Large print programs are available upon request from an usher.
Errand into the Maze
Gian Carlo Menotti
Born July 7, 79 in Cadegliano, Italy
The errand into the maze, , 1 Emblem, the heel's blow upon space,
Speak of the need and order the dancer's will But the dance is still.
In a mid 1940s letter to Martha Graham, her associate Ben Belitt enclosed this poem, which he had dedicated to her. Graham was fascinated with it, particularly the first line. Inspired by the phrase, she conceived a new dance based loosely on the legend of Theseus, Ariadne, and the Minotaur. For music, Graham commissioned Gian Carlo Menotti renowned for the successful 1946 premiere of his opera of The Medium.
The style of Menotti's score for Errand into the Maze bears some resemblance to his operas, as can be heard in the melodic slow?er sections or the quick waltz near the end. However, for the most part it is more loosely tonal, more repetitive, more spiky in texture, and more surprising.
Graham's scenario does not follow the Theseus legend closely. She combines Theseus and Ariadne into one heroic char?acter confronted intensely by the Minotaurlike figure in the maze. Errand becomes emblematic of everyone's inner struggle to overcome ones' fears. In her program notes, Graham wrote:
There is an errand into the maze of the heart's darkness inorder to face and do battle with the Creature of Fear. There is' the accom?plishment of the errand, the instant of tri?umph, and the emergence from the dark.
Equally significant is this dance's sym?bolism of Graham's view of women and their role in nature. Our clue to this con?nection is a paragraph found in her note?book on Errand into the Maze:
Thus the woman is the original seeress, the lady of the wisdombringing waters of the depths, of the murmuring springs and foun?tains, for the "original utterance of seerdom is the language of water. " But the woman also understands the.rustling of the trees and all the signs of nature, with whose life she is so closely bound up.
Klavierstucke, Op. 3, No. 2
Andante poco rubato
Zoltdn Koddly
Born December 16, 1882 in Kecskemet, Hungary
Died March 6, 196 in Budapest
Martha Graham's dance Lamentation, based on thejnusic of Zoltan Kodaly's Klavierstucke, Op. 3, No. 2, was premiered on January 8, 1930. The impact of this solo dance was not so much due to the music,' however, as it was to the costuming combined with Graham's powerfully emotional move?ments. According to Agnes De Mille, Graham took a bodylength tube of gray tricot, tied a string around the middle and simply sat in it. As De Mille describes the fabric:
. . . It clung to her body and her arms and her head and made every position look as though it were carved in stone, the move?ment of the knees, legs, head, and arms giving the fabric its shape. The costume became not so much yardage as a sculpture by Mestrovic, or possibly by Henry Moore. It was one of the great costume inventions of our time. . . .
De Mille describes the dance itself as "a remarkable series of griefstricken postures, partly Greek, pardy Hebraic, basic and sear?ing. Graham remained seated on a low plat?form throughout the dance." Biographer Don McDonagh writes:
. . . She assumed leaning positions that seemed to defy the stability of a seated figure. All that was visible of her body was her two bare feet, her hands, and a narrow expanse of face. Lamentation was a dance of anguish, expressed through stress lines on the fabric, much as the passage of emotional waves leave their traces on the lines of the face.
The tragic impact of the dance could be felt palpably by audiences. De Mille relates that on occasion, it provoked a dramatic catharsis. The most pathetic was a woman who came backstage to weep in Graham's arms. Months before, she had witnessed her daughter struck by a car and killed, but she had been unable to grieve until seeing Lamentation. "I realized," she told Graham, "that grief was a dignified and valid emotion, and that I could yield to it without shame."
Appalachian Spring (Ballet for Martha)
Aaron Copland
Born November 14, 1900 in Brooklyn, New York
Died December 2, 1990 in Brooklyn
By 1943, Aaron Copland had attained a considerable reputation as a ballet composer with Billy the Kid and Rodeo to his credit. These works had also helped to establish him as an "accessible" composer, noted for his explorations of American folk song. . It was natural, then, that Marthai Graham should come to Copland that year with a commission from the Elizabeth Sp'rague Coolidge foundation and a scenario set in the rural Pennsylvania of the early nineteenth century. Copland accepted the commission and completed the ballet the following spring.
The original version of Appalachian Spring (title froma poem by Hart Crane) was scored for only 13 instruments and pre?miered on October 30, 1944 in Washington, D.C., alongside works by Hindemith and
Milhaud. Copland's music was an immediate success, and the following May, Graham's company presented it in New York. In 1945, Appalachian Spring won for Copland not only the New York Music Critic's Circle Award for dramatic music that season, but also the Pulitzer Prize in Music.
According to notes by Copland himself, Appalachian Spring contains eight distinct sections:
@@@@1. Very slowly. Introduction of the characters, one by one, in a suffused light.
2. Fast.t Sudden burst of unison strings . . . starts the action.
3. Moderate. Duo for the Bride and her Intended -scene of tenderness and passion.
4. Quite Fast. The revivalist and his flock. Folksy feelings -suggestions of square dances and country fiddlers.
5. Still faster. Solo dance of the Bride--pre?sentiment of motherhood. Extremes of joy and fear and wonder.
6. Very slowly (as at first). Transition scenes reminiscent of the introduction.
7. Calm and flowing. Scenes of daily activity for the Bride and her Farmerhusband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, . . .
is called "Simple Gifts."
8. Moderate. Coda. The ride takes her place among her neighbors.... Muted Strings intone a hushed, prayerlike passage .... The close is reminiscent of the opening music.
Notes by Dr. Michael Fink San Antonio, Texas, 1994
Comprised of faculty members, and occasionally advanced sludentsof the University of Michigan School: of Music, the Michigan Chamber Players presents four to six concerts a year, two of which are sponsored by the University Musical Society. While these concerts normally involve smaller groups, the Players performance of music commissioned by Martha Graham utilizes larger ensembles of up to fifteen players under the direction of guest con?ductor Stanley Sussman.
Stanley Sussman, guest conductor, has been a principal conductor for the Martha Graham Dance Company since 1966. He has led ballet and t symphony orchestras for dance in major theaters, including Covent Garden, Tivoli Gardens, the Paris Opera, die Metropolitan Opera House, die New York State Theater, Kennedy Center, Spolcto USA, hc Pointe Theater and die White House. He has conducted die Pittsburgh, San Antonio, Tivoli, Oakland, Syracuse, New Mexico, and San Jose symphony orchestras, the Buffalo and Rochester PhilKarmonics, the Ohio and St. Luke's Chamber Orchestras and the Ballet Orchestra of Ireland. He has conducted many world premieres for die Graham Company, including Martha Graham's version of The Rite of Spring by Stravinsky. Recendy, he arranged and orchestrated the music for Panorama and Salem Shore. His televi?sion credits with Martha Graham include "Live from Wolftrap," "Clytemnestra" and "Martha Graham Dance Company at the Paris Opera." Currendy he is a conductor and composer for the ClevelandSan Jose Ballet. His original music for the ballets Wu TaiShih, Last Ad, Passing Bye, and Romantic Interlude are in that company!s permanent repertory. He has also arranged and orchestrated the music for their productions of In Studio "D'znd By George. Mr. Sussman has received "Meet the Composer" and aScap awards, has been conductor for Rudolf Nureyev and Friends, music director for the Jose Limon Dance Company, and for seven years was a member of the faculty of die Juilliard School.
Richard Becne, bassoonist, is becoming increasingly wellknown as a chamber musician, soloist, teacher and coach. His performances as bassoonist with the Lieurance Woodwind Quintet have taken him on tour to Europe and throughout the United States, culminating in concerts in New York at Merkin Recital Hall, and in Washington, D.C. at the Library of Congress. As a soloist he has performed at the Colorado Music Festival, the Peninsula Music Festival in Fish Creek, Wisconsin, and the Sunflower Music Festival in Topeka, Kansas.' He is currently the principal bassoon?ist of the Lansing Symphony and has served in the same capacity in the Wichita and New Haven Symphonies. Before joining Michigan's faculty, he taught at MichiganState University and Wichita State University. He hold degrees from Baylor University and the University of Wisconsin, Madison.
Leone Buyse, flutist, comes to the School of Music from Boston, where she has been a member of the Boston Symphony Orchestra since 1983 and principal flute with that orches?tra since 1990. Ms. Buyse was also a member of the San Francisco Symphony Orchestra and the Rochester Philharmonic Orchestra. She has been an active chamber musician throughout her orchestral career, performing wuh the BosTon Symphony Chamber Players, Boston Musica Viva, Chamber Music West, the Caselli Ensemble and the Webster Trio. The only American finalist ih the 1969 Geneva Inter?national Flute Competition, Ms. Buyse has appeared as soloist with the Boston Pops Orchestra, I'Orchestra de la Suisse Romande, the Rochester Philharmonic, the San Francisco Symphony, the Utah Symphony Orchestra and the New Hampshire Music Festival. She made her debut as soloist with the Boston SynVphony at Tanglewood in August 1993, performing Leonard Bernstein's Halil under John Williams. She may be heard as soloist on numerous recordings of the Boston Symphony, Boston Pops and San Francisco Symphony. Ms. Buyse has taught at the Boston University Tanglewood Institute, the New England
Conservatory and Tanglewood Music Center. She holds a Bachelor of Music with distinction and a Performer's Certificate from the Eastman School of Music; a Certificat d'Etudes from the Paris Conservatory; and a Master of Music from Emporia State University.
(Catherine Collier, pianist, was the top prize winner of the National Young Artist's Competition and the Cliburn Scholarship Competition, and was the recipient of a Rockefeller Award and a Kemper Educational grant to study in England. She has collaborated with many renowned musicians in performances through?out the U.S., Israel, Japan, and Europe, and has been a soloist with many orchestras, including the Dallas, Cincinnati, Houston, and EastmanRochester Symphonies. She is a graduate of the Eastman School of Music where she received the Performer's Certificate.
Deborah Chodacki, clarinetist, is a graduate of the Eastman School of Music and Northwestern University. Since 1989 she has been instructor of clarinet at the Interlochen Arts Academy. She served as clarinet pro?fessor at East Carolina University for ten years, and last sumnter was a member of the artist faculty at Summer Music Monterey.,As an orchestral performer, she has held posiuons with the Spolcto Festival of Two Worlds in Spoleto, Italy, and at the Alabama, Charleston, and North Carolina symphonies. She has been principal clarinet with the Traverse City Symphony since 1989, Ms. Chodacki has published articles in the North Carolina Music Educator and in Medical Problems of Performing Artists.
@@@@Andrew Jennings, violinist, graduat?ed from thejuilliard School. His principal teachers included Ivan Galamian, Alexander Schneider and Raphael Druian. In 1971, he was a founding member of the remark?able Concord String Quartet, an association he maintained until the quartet disbanded in 1987. The . r youthful ensemble quickly gained international recognition by winning die Naumburg Chamber Music Award in 1972. The Concord Quartet
played more than 1,200 concerts throughout the United States, Canada and Europe, specializing in the performance of new works (with an emphasis on American com?posers), giving more than fifty pre?mieres and commissions, in addition to such standard repertory projects as thirtytwo cycles of the complete Beethoven quartets. 1993 marks the debut of the Concord Trio, which Mr. Jennings has formed with Norman Fischer and Jeanne Kierman. Mr. Jennings' teaching career began as a member of the Concord Quartet, whose members were engaged as artistsinresidence at Dartmouth College from 1974 to 1987. Later, he served on the facul?ties of the University of Akron and Oberlin College, and presently devotes his summers to chamber . music instruction at the Tanglewood Music Center and the Greenwood Music School, both in Massachusetts. He joined Michigan's faculty in 1992.
Fred Ormand, clarinetist, is a leading performer, educator, and scholar. Mr. Ormand has played with the Chicago, Cleveland and Detroit sym?phony orchestras and has performed as a soloist with distinguished orch?estras in the United States and abroad. Hailed by the New York Times as "an excellent clarinetist" and by Mstislav Rostropovich as "a genius teacher," Mr. Ormand founded ahd has louredxtensively with the Interlochen Arts Quintet and the Dusha Quartet. In addition to hisduties at the School of Music, he is a member of the summer faculty at ,the Music Academy of the West. Mr. Ormand has taught at several lead?ing American universities and was visiting professor at the Shanghai Conservatory in 1988, where he attracted students from across China. His students have filled positions in major symphony orchestras and ser?vice bands, and on the faculties of major universities. Mr. Ormand served as president of the Inter?national Clarinet Association from 1 ggo1992. He is currently editing the clarinet works of Amilcare Ponchielli for publication in a new edition.
Stephen Rush, Assistant Professor at the University of Michigan, is the Music Director for the Dance Department and Assistant Director of the Center for Performing Arts and Technology. He earned his doc?torate in Music Composition at the Eastman School of Music where he studied with Samuel Adler, Warren Benson, and Gunther Schuller. His music has been performed world?wide, including recent premieres in London, Berlin, Toronto, New York .City, and Asccncion, Paraguay. Rush1 received a 1992 grant from the Kellogg Foundation to study Indian dance and music in India, where he created a work with Bharata Natyam dancer Navtej Johar. A member of American Music center and the International Guild of Musicians m Dance, Rush has works published by Dorn Publications and University of Michigan Carillon Press. As a per?former. Rush has frequently appeared playing works of modern American composers (including Bassctt, Ives, Liptak, Cage, Carter and Bolcom) and has presented jazz concerts with his own trio at Lincoln Center, with exColtrane bassist Steve Davis and with Owl Records recording artist Ed Satath. '
Stuart Sankey is unique among contemporary double bassists. Not only has he had conspicuous success as a performer but also as a composer, writer and editor. He has published two original compositions and is the editor and arranger of forty editions for the double bass. Prior to coming to Michigan "in 1986, Hetaught at Indiana University, the University of TexasAustin and Juilliard. He has given master classes and lectures, and adjudicated nationally and in the Far East. Mr Sankey was the recipient of the first award given by the International Society of Bassists to an outstanding teacher. He has taught and performed at the Aspen Music Festival for forty years and his former students hold leading acade?mic appointments and are members of celebrated orchestras (Berlin, Boston, Cleveland, Los Angeles, Metropolitan Opera, Montreal, New York, etc.).
Harry Sargous, oboist, came to Michigan in 1982 from Toronto where he had been principal oboist since 1971 of the Toronto Symphony and the Toronto Chamber Winds. He held that position as well with the Kansas City Philharmonic and the Toledd Symphony and performed for several summers at the Marlboro Music Festival. His numerous solo recitals have included appearances in Carnegie Recital Hall, Severance Chamber Music Hall in Cleveland, artd the St. Lawrence Centre in Toronto. He has been a featured soloist with the CBC Radio and Television, BBC London, WDR Koln and Swedish Riksradio. Stockholm. He is a graduate of Yale University and his principal teachers of oboe were Robert Bloom and John Mack. Mr. Sargous has taught at the Royal Conservatory of Music and the RCM orchestral training program in Toronto, the University of Toronto, and the University of Western Ontario. He teaches and performs during the summer at the Music Academy of the West in Santa Barbara.
Yizhak Schotten, violist, was born in Israel and brought to the United States by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Mr. Schotten has concertized through?out the United States, Israel, Japan, Mexico, Canada, England, Malaysia, Austria, Taiwan and the Netherlands. He was a member of the Boston Symphony, and exchange member ofthe Japan Philharmonic and prin?cipal violist of both the Cincinnati and Houston symphonies. He has been a soloist with numerous orchestras under such conductors as Seiji Ozawa, Thomas Schippers, Sergiu Commissiona and Arthur Fiedler. He has participated in many festivals including Tanglewood, Aspen, I',.inll. Interlochen and Meadowmount, and is the founder and director of the Kapalua Music Festival in Hawaii. His CRI record?ing was chosen as "Critic's Choice" in High Fidelity, and he has also recorded two albums and a compact disc for Crystal Records. r
Stephen Shipps, violinist, studied with Josef Gingold at Indiana University where he received a B.M. degree, an M.M. degree with Honors and a Performer's Certificate. He also studied with Ivan Calamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Accademia Chigiana in Siena, Italy. Mr. Shipps, a member of the Meadowmount Trio, is a past mem?ber of the Fine Arts Quartet and the Amadeus Trio, and has appeared as soloist with the symphony orchestras in Indianapolis, Dallas, Omaha, Seattle and Ann Arbor. He has been a member of the Cleveland Orchestra; concertmaster and associate conduc?tor of both the Omaha Symphony and the Nebraska Sinfonia; and both the Seattle and Toledo sym?phony orchestras. Mr. Shipps has adjudicated major national and international competitions for almost two decades and is director of the American String Teachers Association National Solo Competi?tion. He served on the faculties of Indiana University, the North Carolina School of the Arts and Banff Centre in Canada prior to joining die School of Music.
Michael Udow is principal percus?sionist with the Santa Fe Opera (1968 to present) and has directed the percussion program at the University of Michigan since 1982. He tours with the dance and per?cussion duo, Equilibrium, and also performs on a freelance basis with Summit Brass, the Santa Fe Chamber Music Festival, and the Detroit Chamber Winds. He performs with marimba virtuoso, Keiko Abe, in diverse chamber music settings both in Japan and in the United States. Last year he performed with Ms. Abe in New York at the Japan Society, at the Percussive Arts Society International Convention, and on a twoweek tour of Japan. As a solo percussionist, he performed the part of the DrummerMadman in the American premiere of Hans Werner Henzels We Come to the River for the Santa Fe Opera, Dennis Russell Davies, conductor. He was also soloist with the Buffalo Philharmonic in the world premiere of David Felder's Between for solo percussion and orchestra. He has performed as a soloist at Paris' Dragon Center, Amsterdam's Stedliejk Museum, Tokyo's Interlink Festival, Dusseldorfs Rhine Music Festival, Salzburg's Aspekte Festival, England's Dartington Dance Festival, and Tubingen's International Percussion Days. Mr. Udow has been recipient of the University of Michigan's Faculty Recognition Award, the Harold Haugh Award for teaching excellence, a Rackham Grant and a grant from the Office of the Vice President for Research.
University Musical Society presents
Program
Friday Evening, October 28, 1994 at 8:00
Power Center
Ann Arbor, Michigan
In the American Grain: The Martha Graham Centenary Festival
Martha Graham Dance Company
Founder, Dancer and Choreographer Martha Graham
Artistic Director Ronald Protas
Satyric Festival Song
Pause
Lamentation
Pause
Panorama (Excerpts)
Associate Artistic Director Diane Gray
Ann Arbor Symphony Orchestra Stanley Sussman, Guest Conductor
Intermission
Cave of the Heart
Intermission
Acts of Light
Seventh Presentation of the 116th Season
24th Annual Choice Series
Thanks to Yopie Prins, UM Assistant Professor of English and Comparative Literature, speaker at this evening's Philips Educational Presentation.
Thanks also to Hammell Music Inc., Livonia, Michigan for the piano used in tonight's.performance.
This project is made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling Fund and Arts Midwest'members and friends in partnership with the National Endowment for the Arts, and the Michigan Council for Arts and Cultural Affairs.
Satyric Festival Song
Choreography and Costume by
Martha Graham
Reconstructed by
Diane Gray Janet Eilber
Original music by
Imre Weisshaus
Music for Reconstruction by
Fernando Palacios '
Lighting by
Premiere
Steven L. Shelley
November 20, 1932
Guild Theatre, New York City
Denise Vale
Minuta Perversa used by special arrangement with Mundimusica. Reconstruction made possible by The Jessica Fund.
The Artistic Directors wish to acknowledge Barbara Morgan, whose pho?tographs were used in part to reconstruct "Satyric Festival Song" and also Janet Eilber and Gisella Speranza for their assistance. Photographic prints courtesy of Morgan & Morgan, Inc., Dobbs Ferry, NY.
Lamentation
Choreography and Costume by
Martha Graham
Music by
Zoltan Kodaly
Lighting by
Thomas Skelton
'Premiere
January 8, 1930 Maxine Elliott's Theatre, New York City
Lamentation is a dance of sorrow.
Joyce Herring
Pianist Alan Moverman
Klavierstiicke, Op. 3, No. 2
Pause
Panorama
(Excerpts)
Choreography by
Martha Graham
Music by
Norman Lloyd
i
Music Arranged and Orchestrated by Stanley Sussman
Costumes by
Mardia Graham, realized by Russ Vogler
Mobile by
Robert Kracik
after Alexander Calder
i
Lighting by
David Finley
Reconstructed by
Yiiriko from thejulien Bryan film
Premiere
August 14, 1935 Vermont State Armory, Bennington, Vermont
In every country there are basic themes of thought and action. These themes are part of the national consciousness and form an inheritance thai contributes to the present. Panorama en?deavors to present three themes which are basically American.
I. Theme of Dedication. This theme is based on that early intensity of fanaticism with which our Puritan fathers sang their hymn of dedication of a new nation.
II. Imperial Theme. For this theme a southern locale was chosen since here was to be found the most striking expres?sion of a people in bondage ridden by superstitions and strange fears.
III. Popular Theme. This theme is of the people and their awakening social consciousness in the contemporary scene.
(Original program notes from the premiere performance, August 14, 1935.)
Ann Arborarea Dancers
Eve Meredith Anderson Gayle Bailey Emily Berry Melissa Bischoff
KlMBERELY B'RATON
Akosua Burris
Lisa CatrettBelrose ?
Dara Cohen .'
Jodie Colone
Emma Cotter
Kelly Crandall .
LlNDSEY DlETZ
Heather Fountain Meghan Frank Hope Grider Joyce Hsu Cheryl Iaquinto
Lena Iglesias Julia Ingalls Elisa LaBelle Gretchen Leathers Carina Lucero Amy Martin Shannon Maxwell t.ara munger Laura Olesky Felesha Simpson Amanda Stanger rosanna tavarez Julie Tice Darby Wilde LeAndrea Williams Christina Zani
The reconstruction of Panorama was made possible, in part, by gifts from ' Baroness HoyningenHuene, Miss Alice Tully, Stephan Weiss, an Anonymous Patron and The Martha Graham Guild.
The touring production of Panorama was supported by The Ida and William Rosenthal Foundation.
The 1935 premiere of Panorama was performed with a series of mobiles by Alexander Calder (see Martha Graham's autobiography. Blood Memory). In this performance, the original mobiles, now lost, are suggested by mobiles made in the style of Alexander Calder.
A display of neverbeforeshown sketches by Alexander Calder for Martha Graham is on view in the Power Center Green Room.
The Martha Graham Dance Company wishes to express its deep appreciation to Ruth Lloyd for her help with the music and to Susan Kikuchi for her assis?tance with the reconstruction.
1
Intermission
Cave of the Heart
Choreography and Costumes by
Martha Graham
Music by
Set by
Lighting by
Premiere
Samuel Barber
Isamu Noguchi
Jean Rosenthal
May 10, 1946
MeMillin Theater,
Columbia University, New York City
?
In Greek legend, Medea was a Princess of Colchis, renowned as a sorceress. She fled from her home with the hero, Jason, to Corinth, where she lived with him as wife and bore him two children. But Jason was ambitious, and when King Creon offered him the hand of his daughter, the Princess of Corinth, in marriage, he abandoned Medea. Mad with jeal?ousy, Medea sent the princess a wedding gift, an enchanted crown. When the princess placed the crown upon her head, it brought upon her a terrifying death. Medea then mur?dered her own children and fled Corinth in a chariot drawn by dragons, returning to her father, the Sun.
Cave of the Heart is Martha Graham's dramatization of this legend. The action is focused directly upon the legend's cen?tral theme, the terrible destructiveness of jealousy and of alliance with the dark powers of humanity as symbolized by magic. There are only four characters: Medea, Jason, the Princess, and the Chorus, who, foreseeing the tragedy about to be enacted, tries vainly to prevent it, and suffers its deep?est meaning.
Medea
Terese Capucilli
Jason
Donlin Foreman
The Princess
Miki Orihara
The Chorus
Denise Vale
Commissioned by the Alice N. Ditson Fund, Columbia University.
Medea, Opus 23 used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
Intermission
Acts of Light
Choreography by
Music by
Costumes by
Lighting by
Premiere
Martha Graham
Carl Nielsen
Halston
Beverly Emmons
February 26, 1981
John F. Kennedy Center for
the Performing Arts, Washington, DC
"Thank you for all the acts of light
which beautified a summer now past to its reward."
Taken from a letter by Emily Dickinson (No. 951) to Mrs. J. Howard Sweetser, Late Autumn, 1884.
I. Conversation of Lovers
Kathy Buccellato Mario Camacho
II. Lament I"
Christine Dakin
Gary Galbraith, Martin Lofsnes,' Matthew Rose, Kenneth Topping, Zhang Zhenjun
III. Ritual to the Sun
Chief Celebrants
Kathy Buccellato Mario CAmacho
i Elizabeth Auclair, Katherine Crockett, Sandra Kaufmann, Rika Okamoto, Miki Orihara, Alessandra Prosperi, Denise Vale, Myra Woodruff
Gary Galbraith, Martin Lofsnes, Peter London, Matthew Rose, Kenneth Topping, Zhang Zhenjun
Commissioned by Edward H. Michaelsen
I. Pan and Syrinx, Opus 49,. II. At the Bier of a Young Artist (Andante Lamentoso). III. Helios Overture, Opus 17.
University In the American Grain: The Martha Graham Centenary Festival
sMoucs,EcTAvL Martha Graham
Dance Company
7 he Ford Motor
" ' Founder, Dancer Artistic Director Associate Artistic
Present . and Choreographer Ronald Protas Director
Martha Graham Diane Gray
Family Performance
Ford Family Series ........................................................................................................................
, CHS Dance Body of Community High School, Ann Arbor Deborah SiposRoe, Director
Program APPALACHIAN SPRING (Ballet for Martha)
? , ,, (Excerpt)
Saturday Afternoon, r
October 29, 1994 Pause
at 2:00 '
Lamentation
Power Center
Ann Arbor, Michigan Pause
Family Program SATYRIC FESTIVAL SONG
Host: Diane Gray
Pause
Tjanang Sari (A Short Study)
Pause
Maple Leaf Rag
Eighth Presentation of the 116th Season
24th Annual Choice Series
Thanks to the members of the Martha Graham Company who participated in this morning's Philips Educational Presentation.
Thanks also to Hammell Music Inc., Livonia, Michigan, for the piano used in today's performance.
Made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The GraylingFund and Arts Midwest members and friends in partnership with the National Endow?ment for the Arts, and the Michigan Council for Arts and Cultural Affairs.
We are grateful to the Ford Motor Company for helping to make this family event possible.
Appalachian Spring
(Ballet for Martha) (Excerpt)
Choreography and Costumes by
Martha Graham .
Music by
Aaron Copland
Set by
Isamu Noguchi
Lighting by
Jean Rosenthal
Premiere
October 30, 1944
Coolidge Auditorium,
Library of Congress, Washington, DC
Springtime in the Appalachian wilderness is celebrated by a man and woman building a house with joy and love and prayer.
The Bride
Joyce Herring
The Husbandman
Ethan Brown
Commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, Washington, DC.
The original title chosen by Aaron Copland was Ballet for Martha which Martha Graham subsequently titled Appalachian Spring.
Used by arrangement with The Aaron Copland Fund for Music, copyright owners; and Booscy & Hawkes, Inc., sole publisher and licensee. Recorded by The Atlantic Sinfonietta conducted by Andrew Schenck, courtesy of KOCH International Classics.
Lamentation
Choreography and Costume by '
Martha Graham
Music by
Zoltan Kodaly
Lighting by'
Thomas Skelton
Premiere
January 8, 1930
Maxine Elliott's Theatre, New York City
Lamentation is a dance of sorrow.
Joyce Herring
Pianist Alan Moverman Klavierstucke, Op. 3, No. 2.
Pause
Satyric Festival Song
Choreography and Costume by
Martha Graham
Reconstructed by
Diane Gray Janet Eilber
Original music by
Imre Weisshaus
Music for Reconstruction by
Fernando Palacios '
Lighting by
Premiere
Steven L. Shelley
November 20, 1932
Guild Theatre, New York City
Denise Vale
Minuta Ptrversa used by special arrangement with Mundimusica. Reconstruction made possible by The Jessica Fund.
The Artistic Directors wish to acknowledge Barbara Morgan, whose pho?tographs were used in part to reconstruct "Satyric Festival Song" and also Janet Eilber and Gisella Speranza for their assistance. Photographic prints courtesy of Morgan & Morgan, Inc., Dobbs Ferry, NY.
Pause
TjANANG Sari (A Short Study)
Choreography by
Steve Rooks
filmic
Traditional Japanese Taiko Drums Kodo Drummers
CHS Dance Body of Community High School, Ann Arbor Deborah SiposRoe, Director
Irene Akio
Erika Roth Atwood
Casie Burke
Ethel Goldman
Marie Hughes
Ariel Hurwitz
Hagai A. Kamil
Stephanie Knol
Sarah Kraft
Mark Meves
Anna Novick
Ingrid Peterson
Amelia Scott
Tera Sky Sipos ,
ShAd Sterling
Pause
Maple Leaf Rag
Choreography by
Martha Graham
Music by
Scott Joplin
Costumes by
Calvin Klein
Lighting by
Steven L. Shelley
Premiere
October 2, 1990
City Center Theater, New York City
For Ron
Martha Graham, dubbed "Mirthless Martha" by her musical ' director Louis Horst, would, when frustrated by a new dance, turn and say, "Oh, Louis, play me the Maple Leaf Rag" -the only thing that would cheer her. ,
Terese Capucilli Mario Caiacho
Elizabeth Auclair, Kathy Buccellato, Katherine Crockett,Joyce Herring, ? Sandra Kaufmann, Rika Okamoto, ? Miki Orihara, Alessandra Prosperi, Denise Vale, Myra Woodruff
Gary Galbraith, Martin Lofsnes, . Peter London, Matthew Rose, Kenneth Topping, Zhang Zhenjun
Pianist Alan Moverman
Elite Syncopations (igo2), Belhena Ragtime Waltz (1905) and Maple Leaf Rag (18gg) arranged by Chris Landriau.
Pause
University Musical Society presents
In the American Grain: The Martha Graham Centenary Festival
Martha Graham Dance Company
Founder, Dancer and Choreographer Martha Graham
Artistic Director Ronald Protas
Associate Artistic Director Diane Gray
Program
i
Saturday Evening, October 29, 1994 at 8:00
Power Center
Ann Arbor, Michigan
Ann Arbor Symphony Orchestra Stanley Sussman, Guest Conductor
El Penitente
Pause
Panorama (Excerpts)
Intermission
Dark Meadow
Intermission
Maple Leaf Rag
Ninth Presentation of the 116th Season
24th Annual Choice Series
Made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling Fund and Arts Midwest members and friends in partnership with the National Endowment for the Arts, and the Michigan Council for the Arts and Cultural Affairs.
Special thanks to Hammell Music Inc., Livonia, Michigan for the piano used in tonight's performance.
El Penitente
Choreography and Costumes by
Martha Graham
Music by
' Louis Horst
Set by
Isamu Noguchi
Lighting by
Jean Rosenthal
Premiere
August ii, 1940
College Theatre, Bennington, Vermont
The Penitentes of the American Southwest are a sect which believes in purification from sin through severe penance. Even today, they enact their ancient rites, culminating in the Crucifixion. The dance bears no factual relationship to these practices but is presented as a story told after the manner of the old mystery plays. The three figures enter, assume their characters and perform as a group of players. The action is divided by a return to the entrance theme. The Festival Dance at the end is a version of a popular dance of celebra?tion with none of the ritualistic content of the preceding scenes.
Penitent
Christ Figure
The Characters
Mario Camacho
Peter London
Virgin
Mary as Magdalen
Mother
Miki Orihara
The Action
I Entrance of Performers
II Flagellation of Penitent
III Vision of Penitent
The Virgin Pleads
The Christ Blesses
IV Death Cart
The Death Cart is the symbol of sin
V Seduction
The Magdalen seduces the Penitent
VI The Fall of Man
VII The Christ condemns
VIII The Penitent bears the cross on his back
IX The Crucifixion
The Penitent atones and wins'salvation
X The Festival Dance
Pause
Panorama
(Excerpts)
Choreography by
Martha Graham
Music by.
Norman Lloyd
@@@@Music Arranged and Orchestrated by Stanley Sussman
Costumes by,
Martha Graham, realized by Russ Vogler
Mobile by
Robert Kracik
after Alexander. Calder
Lighting by
David Finley
Reconstructed by
Yuriko from the Julien Bryan film
Premiere
August 14, 1935 Vermont State Armory, Bennington, Vermont v
In every country there are basic themes'of thought and action. These themes are part of the national consciousness and form an inheritance that contributes to the present. Panorama en?deavors to present three themes which are basically American.
I. Theme of Dedication. This theme is based on that early intensity of fanaticism with which our Puritan fathers sang their hymn of dedication of a new nation.
II. Imperial Theme. For this theme a southern locale was chosen since here was to be found, the most striking expres?sion of a people in bondage ridden by superstitions and strange fears.
III. Popular Theme. This theme is of the people and their awakening social,consciousness in the contemporary scene.
(Original program notes from the premiere performance, August 14, 1935)
Ann Arborarea Dancers
Eve Meredith Anderson ' Lena Iglesias
?v Gayle Bailey Julia Ingalls
Emily Berry Elisa LaBelle
Melissa Bischoff Gretchen Leathers ,
klmberely braton carina lucero
Akosua Burris Amy Martin
Lisa .CatrettBelrose Shannon Maxwell
Dara Cohen Tara Munger
Jodie ColoiQe ' Laura Olesky
Emma Cotter Felesha Simpson Kelly Crandall . Amanda Stanger '
i.in'dsey dletz rosanna tavarez
Heather FduNTAiN Julie Tice
Meghan Frank Darby Wilde
Hope Grider LeAndrea Williams
Joyce Hsu Christina Zani Cheryl Iaquinto
The reconstruction of Panorama was made possible, in part, by gifts from Baroness Hoyningcnfauene, Miss Alice Tully, Stephan Weiss, an Anonymous , Patron and The Martha Graham Guild.
The touring production of Panorama was supported by The Ida and William Rosenthal Foundation.
The 1935 premiere of Panorama was performed with a series of mobiles by Alexander Calder (see Martha Graham's autobiography, Blood Memory). In this performance, the original mobiles, now lost, are suggested by mobiles made in the style of Alexander Calder.
@@@@A display of neverbeforeshown sketches by Alexander Calder for Martha Graham is on view in the Power Center Green Room.
The Martha Graham Dance Company wishes to express its deep appreciation to Ruth Lloyd for her help,with the music and to Susan Kikuchi for her assis?tance with the reconstruction.
Intermission
Dark Meadow
Choreography and Costumes by
Martha Graham
Music by ?
Carlos Chavez
Set by
Isamu Noguchi
Lighting by
Jean Rosenthal
Premiere
January 23, 1946
Plymouth Theatre, New York City
It is a world of great symbols, the place of experience, the Dark Meadow of Ate, the meadow of choice, the passage to another area of life.
The One Who Seeks
Christine Dakin
He Who Summons
Donlin Foreman
She of the Ground
Kathy Buccellato
They Who Dance Together
ElylZAB.ETH AUCLAIR, SANDRA KAUFMANN,
Rika Okamoto, Miki Orihara, Myra Woodruff, Mario Camacho, Gary Galbraith, Matthew Rose, Kenneth Topping
Commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, Washington, DC.'
La Hija de (hlquide used by arrangement with G. Schirmer, Inc., agent for Carlanita Music Company, publisher and copyright owner.
Intermission
Maple Leaf Rag
Choreography by
Martha Graham
Music by
Scott Joplin
Costumes by
Calvin Klein
Lighting by
Steven L. Shelley
Premiere
October 2, 1990
City Center Theater, New York City
For Ron
Martha Graham, dubbed "Mirthless Martha" by her musical direo tor Louis Horst, would, when frustrated by a new dance, turn and say, "Oh, Louis, play me the Mapk Leaf Rag" -the only thing that would cheer her.
Terese Capucilli Mario Camacho
Elizabeth Auclair, Kathy Buccellato, Katherine Crockett,Joyge Herring, Sandra Kaufmann, Rika Okamoto, Miki Orihara, Alessandra Prosperi, Denise Vale, Myra Woodruff
Gary Galbraith, Martin Lofsnes, Peter London, Matthew Rose, Kenneth Topping, Zhang Zhenjun
Pianist Alan Moverman
Elite Syncopations (igO2), Bethena Ragtime Waltz (1905) and Maple Leaf Rag (1899) arranged by Chris Landriau.
University
Musicaj, Society presents
In the American Grain: The Martha Graham Centenary Festival
Martha Graham Dance Company
Founder, Dancer and Choreographer Martha Graham
Artistic Director Ronald Protas
Associate Artistic Director Diane Gray
Ann Arbor Symphony Orchestra Stanley Sussman, Guest Conductor
Pr o G R A M
Sunday Afternoon, October 30, 1994 at 2:00
Power Center
Ann Arbor, Michigan
Celebration of an American Masterwork: Appalachian Spring (1944)
Aaron Copland
Fanfare for the Common Man
yniversity of Michigan Symphony Band Brass H. Robert Reynolds, conductor
Introduction
Claire Bloom Master, of Ceremonies
Aaron Copland (arr.)
Long Time Ago
University of Michigan Chamber Choir Theodore Morrison, conductor
Greetings from the
National Endowment for the Arts
Susan Clampitt, Deputy Director of Programs Sali Ann Kriegsrhan, Director of Dance Programs
Aaron Copland
"Promise of Living" from The Tender Land
University of Michigan Chamber Choir
Theodore Morrison, conductor
Joel Hastings and How.ard Watkins, pianists
"The Making of Appalachian Spring: A Visual Retrospective"
All visual materials are from collections of the Library of Congress. Music by Aaron Copland.
Reflections from the Original Cast Members
Erick Hawkins Pearl Lang
Intermission
Appalachian Spring (Ballet for Martha)
Tenth Presentation of the 116th Season
24th Annual Choice Series
Thanks to Wayne Shirley, Music Specialist, The Library of Congress, speaker at this afternoon's Philips Educational Presentation.
Thanks also to Hammell Music Inc., Livonia, Michigan for the piano used in tonight's performance.
Made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling Fund and Arts Midwest members and friends in partnership with the National Endowment for the Arts, and the Michigan Council for Arts and Cultural Affairs.
Fanfare for the Common Man
Aaron Copland
Born November 14, 1900 in Brooklyn, New York
Died December 2, 1990 in Brooklyn
Copland's Fanfare for the Common Man, composed in 1942, is scored for horns, trumpets, trombones, tuba, timpani, bass drum, and tamtam.
Long Time Ago
On the lake where droop'd the willow,
Long time ago,
Where the rock threw back the billow,
Brighter than snow,
Dwelt a maid beloved and cherish'd
By high and low.
But with autumn leaf she perish'd,
Long time ago.
Rock and tree and flowing water,
Long time ago,
Bird and bee and blossom taught her
Love's spell to know.
While to my fond words she listen'd,
Murmuring low
Tenderly her blue eyes glisten'd
Long time ago.
Promise of Living
(Horace Everett)
The promise of living
With hope and thanksgiving
Is born of our loving our friends and our labor.
@@@@The promise of growing With faith and with knowing Is born of our sharing our love with our neighbor.
The promise of living
The promise of growing
Is born of our singing in joy and thanksgiving.
i
For many a year we've known these fields And known all the work that makes them yield, Are you ready to lend a hand We're ready to work, we're ready to lend a hand.
By working together we'll bring in the harvest We'll bring in the harvest, the blessings of harvest. We plant each row with seeds of grain, And Providence sends us the sun and the rain,
By lending a hand,
By lending an arm,
Bring out from the farm,
Bring in from the land
Bring out the blessings of harvest
Give thanks there was sunshine,
Give thanks there was rain
Give thanks we have hands to deliver the grain
O let us be joyful,
O let us be grateful,
Come join us in thanking the Lord for his blessing.
O let us sing our song, And let our song be heard. Let's sing our song with our hearts, and find a promise in that song.
The promise of ending In right understanding Is peace in our own hearts and peace with our neighbor.
The promise of living
The promise of growing
The promise of ending is labor and sharing and loving.
Intermission
Appalachian Spring (Ballet for Martha)
Choreography and Costumes by
Martha Graham
Music by Aaron Copland
Set by Isamu Noguchi
Lighting by Jean Rosenthal
Premiere October 30, 1944 Coolidge Auditorium, Library of Congress, Washington, DC
Springtime in the Appalachian wilderness is celebrated by a man and woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pio?neering woman with her dreams of the Promised Land.
The Bride
Joyce Herring
The Husbandman
Ethan Brown
The Pioneering Woman
Denise Vale
The Revivalist
The Followers
Peter Sparling
Elizabeth Auclair, Sandra Kaufmann, Rika Okamoto, Alessandra Prosperi
Commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, Washington, DC.
The original title chosen by Aaroa Copland was Ballet for Martha which Martha Graham subsequently titled Appalachian Spring.
Used by arrangement with The Aaron Copland Fund for Music, copyright own?ers; and Boosey & Hawkes, Inc., sole publisher and licensee.
Company Biographies
The oldest and most celebrated dance company in America, the Martha Graham Dance Company has received international acclaim from audiences in over fifty coun?tries on five continents. Since it was formed in April iga6, the Company has performed at the Metropolitan Opera House, the Paris Opera House, Covent Garden, the John F. Kennedy Center for the Performing Arts, as well as at the base of the Great Pyramids of Egypt, and the ancient Herod Atticus Theatre on the Acropolis in Athens, Greece. In addition to live performances, the Company has produced films and videotapes that are broadcast and distributed throughout the world.
Ronald Protas, Artistic Director, first came to know Martha Graham when he was a professional photographer while still at college. An English lit?erature and international relations major, he spent his undergraduate years at University Heights NYU, where he received a Bachelor of Arts degree, phi beta kappa. As a photographer he worked with Margot Fonteyn and Rudolf Nureyev, Maria Callas, Marlene Dietrich and others. He attended Columbia University law School, but withdrew from his studies when Martha Graham asked that he work with her in reestablishing her dance company. For 22 years, he served as Associate Artistic Director of the Company. During that time, he designed sets for Martha Graham's ballets Persephone and The Rite of Spring. Martha Graham designated him Artistic Director of thg Martha Graham Dance Company. He is cur?rently involved in the creation of a musical based on the life of Martha Graham.
Carol Fried, Rehearsal Director, was born in New York City where she trained at the Hanya Holm School of Dance, School of American Ballet, High School of the Performing Arts, and the Dalcroze School of Music. She studied under full schol?arship at the Martha Graham
School of Contemporary Dance as the recipient of the Bethsabee de Rothschild Scholarship. In addition to performing in Broadway musicals and on television, Ms. Fried was a soloist with the Martha Graham Dance Company, and danced in the companies of Hanya Holm, Pearl Lang, Sophie Maslow, Helen Tamaris Daniel Nagrin and Yuriko. Ms. Fried has held an Assistant Professorship in Dance at the State University of New York at Purchase and has taught in England, Germany, Israel, Portugal, and Spain, and throughout the United States in conservatories and universities, including positions as an artistinresidence at Cornell University and master teacher in the California State University system.
In New York, Ms. Fried has taught at the Alvin Ailey American Dance Center and New York University, and adjudicated competi?tions at the High School of the Performing Arts. She has taught at the Martha Graham School since 1961 and has choreographed for students at the Alvin Ailey American Dance Center and SUNYat Purchase. Ms. Fried first became Rehearsal Director of the Martha Graham Dance Company in the 1 g7o's. At that time, Martha Graham asked her to reconstruct and revive several major works. After a leave of absence, she returned to the company as Rehearsal Director in 1989 and was appointed Associate Artistic Director in 1993. Recently, she helped com?plete a study film of the Martha Graham Technique for the National Endowment for the Arts. In January i 'Hi ;. she produced the Martha Graham Dance Company Choreo?graphers Project. She continues to pursue her interest in conservation and archival research which will lead to the reconstruction of Martha Graham's works.
Diane Gray, Associate Artistic Director and Director of the Martha Graham School, came to New York to study widi Martha Graham after seeing Graham's film A Dancer's World in college. After receiving a Bachelor of Science m Dance from The Juilliard School, she was asked to join the Martha Graham Dance Company in 1964. Ms. Gray became
a principal dancer and danced many major roles, including The Bride in Appalachian Spring, Helen of Troy in Clytemnestra, A Woman in Herodiade, Jocasta in Night Journey, and Joan in Seraphic Dialogue.
Before dancing in the Graham Company, Ms. Gray worked with the dance companies of Helen McGehee, Jeff Duncan, Yuriko, Pearl Lang, Kazuko Hirabayashi and Sophie 'Maslow. As an actress dancer she appeared with Dame Judith Anderson at the Ypsilanti Greek Theatre in Ypsilanti, Michigan in 1966 under the direction of Alexis Solomos of the National Greek Theatre. The same year she also performed with Dame Judith in Elizabeth the Queen at City Center in New York and Medea at the Houston Music Center, for which production she was also the choreographer.
Between 1979 and 1983 Ms. Gray choreographed and presented new works in New York and on tour in the United States for her own group, "Dances by Diane Gray." In 1983 Ms. Gray was appointed Director of the Martha Graham School of Contemporary Dance, founded in 1926 as the otliii.il school of the Martha Graham Dance Company. Having begun teaching at the Graham School in 1965, Ms. Gray has been a guest teacher in many , parts of the world and has done sev?eral artistinresidence workshops in colleges and universities.
Ms. Gray completed a Master of Science in Education from Hunter College and is a member of Kappa Delta Pi Honorary Education Society. She was the founding President of the Emergency Fund for Student Dancers, and is presently Chairman of the Commission on Accreditation for the National Association of Schools of Dance.
Stanley Sussman, Music Director, has been a principal conductor for the Martha Graham Dance Company since ig66. He has led ballet and symphony orchestras for dance in major theaters of the world, includ?ing Covent Garden, Tivoli Gardens, the Paris Opera, the Metropolitan Opera House, the New York State Theater, Kennedy Center, Spoleto USA, the Pointe Theater and the White House. He has conducted the
Pittsburgh, San Antonio, Tivoli, Oakland, Syracuse, New Mexico, and San Jose symphony orchestras, the Buffalo and Rochester philhar?monics, the Ohio and St. Luke's Chamber Orchestras and the Ballet Orchestra of Ireland. He has con?ducted many world premieres for the Graham Company, including Martha Graham's version of The Rile oSpringby Stravinsky. Recently, he arranged and orchestrated the music for Panorama and Salem Shore. His television credits with Martha Graham include "Live from Wolftrap," "Clytemnestra", and "Martha Graham Dance Company at the Paris Opera." Currently he is a conductor and composer for the ClevelandSan Jose Ballet. His origi?nal music for the ballets Wu T'ai Shih, Last Act, Passing'Bye, and Romantic Interlude are in that compa?ny's permanent repertory. He has also arranged and orchestrated the music for their productions of In Studio "O'and By George. Mr. Sussman has received "Meet the Composer" and ascap awards, has been conduc?tor for Rudolf Nureyev and Friends, music director for the Jose Limon Dance Company, and for seven years was a member of the faculty of the Juilliard School.
Ethan Brown, Guest Artist, was born in New York City and began his dance training with his father Kelly Brown in Phoenix. Both his father and his mother Isabel Mirrow were members of American Ballet Theatre. At the age of thirteen, he moved to New York to train at the School of American Ballet where he studied for six years.
In 1981, Mr. Brown joined American Ballet Theatre as a mem?ber of the corps de ballet. His reper?toire with the Company includes leading roles in Bruch Violin Concerto No. 1 and Drink to Me Only With Thine Eyes, Her Pastor in Fall River legend, Hilarion in Giselle, the Wounded Veteran in Agnes de Mille's The Informer, the fourth movement in The leaves are Fading, the Jailer in Manon, the Head Wrangler in Rodeo, Benvolio and ' Tybalt in Romeo and Juliet, leading roles in Some Assembly Required and Symphonic Variations, and featured roles in Ballet Imperial, Jardin aux
l.iliis. Theme and Variations and Voluntaries. He created a featured role in Ulysses Dove's Serious Pleasures. Mr. Brown was appointed Soloist in ig86.
Mario Camacho, Principal Dancer, a native of Port Lavaca, Texas, began his dance training at Texas Christian University under the supervision of Jerry Bywaters Cochran. Mr. Camacho moved to New York in 1984 after receiving a scholarship to both the Martha Graham School of Contemporary Dance and the Alvin Ailey American Dance Center. He joined the Martha Graham Dance Company in 1986, became a soloist in 1989, and a principal dancer in 1993. His roles include The Messenger of Death in Clytemnestra, the Creature of Fear in Errand into the Maze, the Man in Yellow in Diversion of Angels, Hippolytus in Phaedra, the Penitent in El Penitente, The Stranger in Embattled Garden, ? Astyanax in Cortege of Eagles, the Lion in Circe, a featured role in The Eyes of the Goddess, and the lead man in Maple Leaf Rag. Mr. Camacho has appeared in film and television productions of Pearl Lang's "The Possessed," Ruby Shang's The Small Wall Project," and "Martha Graham Dance Company at the Paris Opera." Mr. Camacho has also danced with the companies of Mark Dendy, Pearl Lang, Peggy Lyman and Ruby Shang. He frequently performs works of individual choreographers such as David Hochoy, Lyndon Branaugh, Kenneth Topping, Austin Hartel and Maxine Sherman.
Terese Capucilli, Principal Dancer, has in her 15 years with the Martha Graham Dance Company, performed a wide range of principal roles! among theni nearly twentyfive origi?nally performed by Martha Graham. Joining the Company in 1979, she was one of four to dance in honor of Martha Graham in the televised presentation of the Kennedy Center Honors that same year. In 1984 she premiered the role of The Chosen One in The Rite of Spring and later Martha Graham created the princi?pal roles in the ballets Temptations of the Moon, her final ballet Maple Ijeaf Rag, and her unfinished work The Eyes of the Goddess on Ms. Capucilli
and reconstructed the 1937 solo Deep Song for her. In Errand into the Maze, she danced in the PBS broad?cast of "An Evening of Dance and Conversation widi Martha Graham." In the same role, she appeared at the SovietAmerican "Making Music Togedier" festival in Boston, and again in the Company's filming in Tokyo, Japan. Most recendy, she filmed Maple LeafRagat the Paris Opera. Ms. Capucilli has shared the stage on two occasions with Rudolf ' Nureyev and has been partnered by Mikhail Baryshnikov in Graham's Appalachian Spring, Night Journey, and El Penitente, which she was invit?ed to perform with Mr. Baryshnikov's White Oak Dance Project in Paris and I .ninlciM. In 1992, Ms. Capucilli, with Carol Fried, reconstructed and performed Martha Graham's solo Salem Shore, not seen since 1947. Miss Capucilli is from Syracuse, New York, add received her Bachelor of Fine Arts degree from SUNY ' Purchase. Prior to working with the Martha Graham Dance Company she performed with the companies of Marcus Schulkind, Kazuko Hirabayashi, Mel Wong, JeanLouis Morin and was a founding member of Elisa Monte and Dancers, with whom she later appeared as a guest artist. Ms. Capucilli also does ongo?ing work with the BuglisiForeman Dance Comffany, having performed dieir ballets on numerous occasions, including at the Teatro Nuovo in Milan, Italy with Carla Fracci's Italian Ballet. At Prague's International Dance Week 'g3 she was invited to be a guest artist and teacher with Donlin Foreman and appeared in Jacqulyn Buglisi's Threshold and Foreman's Field ofljnies. Ms. Capucilli is a recipient of a Dance Fellowship from the Princess Grace FoundationU.S.A. and was later awarded the Princess Grace Statuette for her work with the Graham Company. Ms. Capucilli's recent roles have included the principal sister in Deaths and Entrances, The Chosen One in The Rite of Spring, and the solo Salem Shore narrated by Clkire Bloom. She also appeared in the premiere of Twyla Tharp's Demeter and Persephone.
Christine Dakin, Principal Dancer, has been a member of the Martha Graham Dance Company since V 1976. Before joining the Company she studied and performed with the companies of Pearl Lang and Kazuko Hirabayashi, for whom she has also acted as rehearsal director. She studies modern dance with Ka7.uko Hirabayashi and ballet with Vladimir Dokoudovsky. OffBroadway she performed in The Dybbuk and Hard to be a Jew. On film she was most recently a featured performer in the documentary "Les Printemps du Sacre," and performed in the WNET production "Young Artists in Performance at the White House," as well as the Graham Company's recent filming of Night Journey, Herodiade, and The Rite of Spring. As a guest artist, Ms. Dakin has estab?lished a reputation as a speaker and teacher in the United States and abroad. She teaches for the Ballet . Nacional de Mexico and the Ballet Contemporaneo de Buenos Aires. In 1992 she was one of the first Americans allowed into Vladivostok, Siberia sponsored by the USIA as a guest artist. Ms. Dakin is a member of the faculty at The Juilliard School and the Martha Graham School. She premiered the role of Phaedra in Phaedra's Dream at the Athens Festival in Greece and later per?formed it with Rudolf Nureyev at the Paris Opera, the Berlin Festival and the New York State Theater. For the 1988 revival of Letter to the World, Miss Dakin stepped out of her usual role as principal dancer to recreate the role of The One Who Speaks. Miss Dakin's other roles in the . Graham repertory include Clytemnestra, Jocasta in Night Journey, The Woman in Errand into the Maze, Medea in Cave of the Heart, The Bride in Appalachian Spring, the lead in Tangled Night, The Chosen One in The Rite of Spring, and The One Who Seeks in Dark Meadow.
Donlin Foreman, Principal Dancer, was invited to join the Martha Graham Dance Company in 1977. A principal dancer since 1979, Mr. Foreman has been(coached and directed by Martha Graham in nearly every major male role in the reper?tory. Recently he has appeared in Seraphic Dialogue, Cave of the Heart,
The Rite of Spring and Deaths and Entrances. For his work with the Graham Company, Mr. Foreman has received several honors which include dancing at the White House in the Young Artists Series, being listed in Marquis Who's Who and Outstanding Young Men of America, and being presented the President's Award for Outstanding Achievement in the Performing Arts from the University of Montevallo. In 1989 and 1992 Mr. Foreman was invited to present his choreography as part of the Graham Company's New York City Center seasons. Mr. Foreman has established an international rep?utation as guest artist, teacher, and choreographer. As a visiting dancer he has performed two seasons with Feld Ballets NY, dancing the role created on him in Mr. Feld's pas?sionate ballet Adieu. Mr. Foreman originated in 1993 the role of Christopher Columbus in La Scala Ballet's production Cristoforo Colombo and returned to La Scala this spring to dance and choreograph his new work, Night's River with Luciana Savingano. Mr. Foreman also contin?ues his nine years of association with Jacques d'Amboise's National Dance Institute. He recently formed, with his wife Jacqulyn Buglisi and with the collaboration of Christine Dakin and Terese Capucilli, Buglisi Foreman Dance, presenting their choreography in festivals and galas in Prague, Taiwan, Milan, Purchase, NY and the Brooklyn Academy of Music Opera House. Last fall Mr. Foreman set his ballet Field of Loves on Ballet Nacional de Mexico, being the first choreographer outside that company invited to do so. Out of Marthas House, Mr. Foreman's first volume of poetic writings was pub?lished in Italy in 1992 Last spring the National Arts Club presented him the Helen Weiselberg Award in Dance for his choreography and writings.
Joyce Herring, Principal Dancer, was born in Grassy Point, New York. She received her Bachelor of Fine Arts in Dance from Thejuilliard School and danced in the companies of Manuel Alum, Kathryn Posin and Pearl Lang before joining the Martha Graham Dance Company in 1981. Her television credits include the
WNET productions "Young Artists in Performance at the White House," "Celebrate! 100 Years of the Lively Arts at the Met," and "Martha Graham Dance Company at the Paris Opera." She appeared as a guest artist with the London Contemporary Dance Theatre in iggi, performing Miss Graham's solo, Lamentation. Miss Herring con?tinues to teach at schools and uni?versities in the United States and abroad. Her recent roles have includ?ed Jocasta in Night Journey, the lead in Primitive Mysteries, The Bride in Appalachian Spring and Joan in Seraphic Dialogue.
Peter London, Principal Dancer, was born in PortofSpain, Trinidad and Tobago where he was a choreogra?pher and dancer in the Barataria Folk Dance Group from 1976 to 1983. After coming to the United . States) he entered The Juilliard School and choreographed for The Juilliard School CrossCultural Program, graduating in 1987. He was a member of the Jose Limon Dance Company from 1987 to 198.8. A member of the Martha Graham Dance Company since 1988, he was made a soloist in 1993. His roles include the lead man in Night Chant, a role which was created for him by Martha Graham, the Snake in Circe, the Priest of the Sacrifice in Clytemnestra, Charon in Cortege of Eagles, the Christ Figure in El Penitente, Tiresias in Night Journey, and The Shaman in The Rite of Spring.
I
Peter Sparling, Guest Artist, Associate Professor and Chair of the UM Department of Dance, is also artistic director of Dance Gallery Peter Sparling & Co. A graduate of the Interlochen Arts Academy and the Juilliard School, he has danced with the Jose Limon Dance compa?ny and was a principal dancer with the Martha Graham Dance Company from 197387. Sparling has held residencies as teacher, performer and choreographer nationally and internationally. He has received funding from the National Endow?ment for the Arts, the Michigan Council for the Arts and Cultural Affairs, Arts Foundation of Michigan, UMRackham School of Graduate '
Studies, School of Music, and the Office of the Vice President for Research, and has received a UM Faculty Recognition Award.
Kenneth Topping, Principal Dancer, a native of Boston, Massachusetts, received a Bachelor of Arts degree in psychology from Skidmore College, where he began his dance training under the supervision of Moss Cohen. Mr. Topping has danced with the companies of Geulah Abrahams, David Hochoy, Peggy Lyman and Sophie Maslow. After graduating from Skidmore in 1984, Mr. Topping moved to New York City, joined the Martha Graham Dance Company in 1985, and became a principal dancer in 1990. During the Graham Company's 1992 New York season, Mr. Topping made his debut as .the lead male in Plain of Prayer and Orestes in Clytemnestra. In April 1992, in collaboration with Elizabeth Lende, Mr. Topping made his choreographic debut at Skidmore College where he created three dances for Skidmore's Spring Concert.
Denise Vale, Principal Dancer, a native of Philadelphia, Pennsylvania, received her dance training from Edmund Novack of the Ballet Russe de Monte Carlo and the Philadelphia Academy for the Performing Arts. Ms. Vale has danced with the com?panies of Joan Kerr, Larry White and Elisa King. In 1985 Ms. Vale joined the Martha Graham Dance Company and became a principal dancer in 1990. Her roles have included The Pioneering Woman in Appalachian Spring, Helen of Troy in Cortege of Eagles, The Woman in White in Diversion of Angels, the solo Lamentation, Aphrodite in Phaedra, and the lead role in Night Chant, which was created for her in ig88 by Miss Graham.
Alan Moverman, pianist, Maple Leaf Hag, recieved his M.M. from Juilliard School and Doctorate from suny Stony Brook. As a composer, he has written music for two pbs documen?taries and for his New York based group, "A Cloud Nine Consort." He has toured extensively in the United States and Europe as an onstage pianist and company class accompa
nist for the Martha Graham Dance Company. He has worked extensive?ly as a musician with the Martha Graham School, Sarah Lawrence College and Queensborough Community College, Rise Jaraslow and Dancers, and Karen Bamonte's Zero Moving Dance Company. Presendy he is MusicianComposerinresidence in the Dance Depart?ment at Connecticut College.
Ann Arbor Symphony Orchestra
Violin I
Stephen Shipps
Concertmaster Jennifer Ross
Associate Concertmaster Lorien Benet
Assistant Concertmaster "Elizabeth Rust
Violin n
Barbara'SturgisEverett
Principal Man Sato Scott Esty
Viola
Kathleen Grimes
Principal Nancy Thomas
CeUo
Richard Mattson
Principal ChwenHuei Liou
Gregg Emerson Powell
Piano
Virginia Weckstrom
Timpani James Lancioni
Percussion
James Lee Wyatt III
FlutePiccolo Penelope Fischer
Principal Lu Chang Jessica Peek
OboePiccolo Lorelei Crawford
Principal Kristin Reynolds
Clarinet
Celia Eidex Tsiang
Principal Susan Alexander True
Bassoon
Dean Zimmerman
Principal Roger Maki
Horn
Willard Zirk Principal
Bernice Schwartz Daniel Ross Haley Hoops
Trumpet Charles Daval
Principal
Christopher Hart Christopher Bubolz
Trombone
David Jackson
Principal Scott Hartley Greg Lanzi
Tuba
Robert Calkins
The AnnArbor Symphony Orchestra, founded in 1928 by a group of ded?icated music lovers and volunteer musicians, began as a community orchestra designed to allow the many talented musicians of this area a place to perform. They provided classical music concerts open to every?one at no cost and were the last community orchestra of note in the coun?try to perform for free. Today, the AASO remains dedicated to'the perfor?mance of orchestral music meeting the highest standards of excellence which entertains, inspires, and educates the widest possible audience.
Celebration of an American Masterwork
Guest Participants
The University of Michigan Symphony Band, ihc School of Music's premiere student perfor?mance ensemble for wind and per?cussion instruments, is known throughout djc world as one of the outstanding groups,of its kind. The Symphony Band Was appeared in Carnegie Hall, Boston Symphony Hall, Lincoln Center, Philadelphia Academy of Music and Orchestra Hall, Chicago. In 1984, the Symphony Band was selected to premiere an opera for La Scala in Milan, Italy and continued to per?form throughout its sixweek resi?dency at several distinguished European festivals, including Florence, Zurich and Amsterdam. In 1987, the brass section of the Band was invited to represent the United States at the 750th anniver?sary celebration of the founding of the city of Berlin.
H. Robert Reynolds, Director of the University Bands, has conducted in many of the great concert halls of the United States and Europe, in?cluding Lincoln Center, Kennedy Center, the Maggio Musicale in Florence, Zurich's Tonhalle and the Concertgebouw in Amsterdam. He serves as musical advisor and conduc?tor to the Detroit Chamber Winds.
Claire Bloom was born in London and hiade her first appearance on the stage with the Oxford Repertory Company at the age of 16. Her first major .role came a year later, when she played Ophelia at StratfordUponAvon opposite the alternating Hamlets of Paul Scofield and Robert Helpmann. Her first London 1 appearance was as Alizon Eliot in John Gielgud's production of Christopher Fry's The Lady's Not for Burning opposite Richard Burton. Her performance in Peter Book's production of Jean Anouilh's Ring Round the Moon, also starring Paul Scofield, led to the role of Teresa in Charles Chaplin's 1952 film UmeUghl.
Since ihen she has divided her career between England and the United States. Her films include Limelight, The Man Between, Richard Jll, Ijok Back in Anger, The Spy Who' Came in From the Cold, Charley, A Doll's House, Islands in the Stream, Clash of the Titans, Sammy and Rosie, , and Woody Allen's Crimes and Misdemeanors.
Her most notable stage roles have included Juliet, Ophelia, Viola, Miranda and Cordelia at the Old Vic; in London's West End she has appeared as Sasha in Ivanov, Nora in A Doll's House, Rebecca West in Rosmersholm, and Mme. Ranyeskvya in The Cherry Orchard and, at the Almeida in 1990, as Irena in When We Dead'Awaken. In 1974, for her London portrayal of Blanche du Bois in A Streetcar Named Desire, she won the three major English theatrical awards.
Her television appearances include Brideshead Revisited, in which she and Laurence Olivier played Lord and Lady Marchmain, Philip Roth's The Ghost Writer, and Shadowlands, for wnich she won Britain bafta Award for best television actress of the year.
Ijnwlight and After, an autobio?graphical book, was published in 1982 by'Harper and Row.
Miss Bloom is currently appear?ing as narrator widi major sympho?ny and chamber orchestras and also tours the U.S. extensively with her one woman performances.
The University of Michigan Chamber Choir, directed by Theodore Morrison, is composed of voice majors from the School of Music. The ensemble has received' extraordinary recognition for its range and ability, particularly for its performances of challenging choral works. The Chamber Choir was invited to be the first American choirinrcsidcnce at the Festival of Two Worlds in Spoleto, Italy. The Choir has toured eastern and west?ern Europe numerous times and was twice invited to be choirinresidence of .the Las Pamas Opera Festival in the Canary Islands.
Theodore Morrison has directed choirs at the Peabody Conservatory and Smith College in addition to the University of Michigan. He founded the Baltimore Choral Arts Society in 1967 and thereafter fre?quently guest conducted the Baltimore Symphony Orchestra. Since ,1 g8o, he has also beep an active composer.
Susan Clampitt was named Deputy. Chairman for Programs at the National Endowment for the Arts in November 1993.
Ms. Clampitt, a recognized leader in the arts and in the man?agement of nonprofit organizations, has had a distinguished career as a curator, administrator, and educator. She has focused her career on pub.lic accessibility to the arts and on die creation of innovative arts pro?grams. In addition, she has worked as a consultant to many cultural organizations and private founda?tions on issues of management and programming.
Ms. Clampitt served as curator at the Montclaire Art Museum in New Jersey and as associate director of public information at New York City's Museum of Modern Art. She founded and directed the graduate program in museum education at Bank Street College of Education, one of die country's preeminent programs for training museum pro?fessionals. Under the auspices of the Museum of Modern Art, she cofounded Children's Art Carnival in Harlem, an organization that has benefited thousands of innercity children. Ms. Clampitt has been active as a board member and advi?sor for many cultural institutions, including the Smithsonian 'Institution, WETA, inform, and Children's Express.
A native of New Jersey, Ms. Clampitt received her undergraduate degree in Art History and English at Douglas College. She went on to receive as Master of Science degree at Bank Street College of Education.
Sali Ann Kriegsman has been Director of the'National Endow?ment for the Arts Dance Program since October 1986. Before coming to the Arts Endowment, she worked as a writer and critic and served as an independent consultant and advisor on a variety of professional programs in the dance field over the past decade.
She is the author of Modem Dance in America: The Bennington Yean (1981), has written dance criti?cism and commentary,.and has pro?duced television features on the arts. She has taught and lectured on dance at universities, performing arts centers and museums. She codirected the Colorado Dance Festival's Jazz Tap Celebration in 1986. From 19791983, she served as the Smithsonian Institution's dance consultant and originated and produced the American Dance Experience series featuring some 100 performers and artists working in ballet, modern, postmodern, eth?nic and jazz tap forms. She chaired the 1982 Dance Critics Association national conference on dance reconstruction and revival. She served in an advisory capacity to the National Choreography Project and has evaluated dance, media and arts programs for federal and state arts agencies, private foundations, and universities. She was a member of the NEA Dance Advisory Panel from 19791982, serving as Chair of the Choreographers' Fellowship Panel in 1982.
She has written extensively about dance and her background includes five years widi the American Film Institute where she served as Executive Editor.
Born in New York City, Mrs. Kriegsman has resided in the Washington, D.C. metropolitan area (Chevy Chase, Maryland) since 1966. 1
Pearl Lang is an esteemed dancer, choreographer, and teacher. She was the first dancer chosen by Martha Graham to perform her own roles in the Graham repertoire.
Miss Lang danced the leading roles in El Penitente, Appalachian Spring, Primitive Mysteries, Joscasta in Night Journey, Emily Dickinson (one who dances) in Letter to the World, the title role in Hrrodiade and the
title also
iJe role in Clytemnestra. Miss Lang so was present and participated in the creation of Graham works such as Appalachian Spring, Deaths and Entrances, Dark Meadow, Punch and Judy, Night Journey, Eye of Anguish, I Diversion of Angels and Ardent Song.
In the midfifties, she formed her own dance company -The Pearl Lang Dance Theatre. She has chore?ographed over fortythree dance works which have also been per?formed by major dance organiza?tions in die United States, Europe, and Israel. For thirteen years she was instructor of theatre movement at Yale University's School of Drama and for twelve years at the Juilliard School of Music (undergraduate division).
For over forty years Pearl Lang has been senior instructor of the Martha Graham technique and choreographer at the Martha Graham Center. She is now an artis?tic advisor and supervisor for many of the revivals in the Graham reper?toire.
Among others, her awards include two Guggenheim Fellowships for choreography, and die Martha Graham Award for excellence in performance and choreography.
Erick Hawkins, in his 6odi year in dance, has been hailed as "one of the true dance radicals," and in 1996 will celebrate die 45th anniver?sary of his company. Born in Trinidad, Colorado, Hawkins received a schol?arship to Harvard University, and earned a degree in Greek culture. Inspired to become a dancer after seeing Harald Kreuuberg and Yvonne Gerogi dance, he became the first American student in George Balanchine's School of American Ballet. After Hawkins choreographed Showpiece for Ballet Caravan (later to become New' York ( City Ballet), Balanchine called him his most promising young choreog?rapher. Mr. Hawkins became Martha Graham's first male dancer in a solo in American Document, die created celebrated roles in Appalachian Spring, El Penitente, Dark Meadow, Deaths and Entrances, and Night Journey.
In 1951, Mr. Hawkins opened his own school, creating a movement dieory which harmonizes body,
mind and spirit, developing his "freeflow technique" with the first positive use of fluidity in dance training, described at the 1988 Samuel H. Scripps American Dance Festival Awards by Charles Reinhart as 'Virtuosity without effect." In 1975 h's schoof was honored by a substantial Mellon Foundation Award and September, 1994 the Company received a generous grant from the Pew Charitable Trusts to create a video and booklet docu?menting the Hawkins Technique The school is th,e official training center of the Hawkins technique, and enrolls approximately 1,500 students annually from the U.S. and abroad. It is now the fourth oldest existing school of dance -ballet or modern -in the United States.
Through the Erick Hawkins Dance Company, also founded in 1951, Mr. Hawkins continues to v extend the boundaries of American dance through new works and regu?lar performances, master classes and lecturedemonstrations present?ed in New York and throughout the world. His unprecedented collabo?rations with artists, sculptors and designers, include such luminaries as Helen Frankenthaler, Isamu Noguchi, Ralph Lee, Robert MotheYwell and Ralph Dorazio.
Mr. Hawkins profoundly believes in the beauty and power of live music in the theatre, and his com?pany has never performed to recorded music. He has created over 50 works for his company with commissioned scores by such distin?guished international composers as Virgil Thomson, Alan Hovhaness, Lou Harrison, Michio Mamiya, Ge Ganru, Ross Lee Finney, Dorrance Stalvey and Lucia Dlugoszewski.
January, 1994 Erick Hawkins was honored by Mikhail Baryshnikov " and Howard Oilman with a grand celebration for over 250 luminaries, colleagues and friends who celebrat?ed his 60 years in dance. March, 1994 Mikhail Baryshnikov con?tributed a substantial sum of money to the Erick Hawkins Dance Foundation to provide salaries for dancers and the restoration of historic"works, helping to ensure Erick's legacy for years to come.
In the American' Grain: The Martha Graham Centenary Festival
Complete Festival Schedule
Preliminary Events
Tuesday, October 18 12:10pm
"Personal Emotion and Public Space: Noguchi and Abstract Sculpture. "
Nan Plummer, Assistant Director for Programs,
UM Museum of Art Free admission, UM Museum ofArtAV Room
Wednesday, October 19 7:00pm
Open Rehearsal qTanorama
Peter Sparling, Chair, UM Department of Dance Susan Kikuchi, Ensemble Director, Martha Graham
School of Contemporary Dance An informal look at the reconstruction of a Graham masterwork, featuring dancers selected by audition from the Ann Arbor community who will perform the work with the Martha Graham Dance Company on October 28 and 29 in the Power Center. Free admission, Betty Pease Studio t Theatre, UM Dance Building.
Sunday, October 23
2:30pm
Philips Educational Presentation
Martha Graham and the American Composer
Richard Crawford, UM Professor of Music
History and Musicology
Free Admission, Rackham Auditorium. Underwritten by a grant from Philips Display Components Company.
4:00pm,
Michigan Chamber Players Stanley Sussman, guest conductor The Music of Martha Graham The Michigan Chamber Players -faculty mem?bers from the University of Michigan School of Music -and Stanley Sussman, Principal Conductor of the Martha Graham Dance Company, join forces for this concert focusing on music commissioned and inspired by Martha Graham. Free Admission, Rackham Auditorium.
Program
Menotti Errand into the Maze Kodaly Klavierstucke, Op. 3, No. 2 (Lamentation) Copland Appalachian Spring (Ballet for Martha)
Exhibitions , ,
if September 24 November J3
Isamu Noguchi:
Exploration and Collaboration
This twopart exhibition presents Isamu Noguchi (1904 1988) both as student of tradition and as innovator, through his early figure studies in the ancient Chinese brush technique and the artist's celebrated sculptural sets for Graham ballets Cave of the Heart and Circe. Free Admission, UM Museum of Art.
October 18 30
Graham, Noguchi, Calder: Imagery for Dance Theater
Isamu Noguchi designed completely integrated theatrical settings to enhance the drama of the dance on stage. Included in this exhibition are selected pieces he created for Clytemneslra which exemplify the highly dramatic aspects of his work. Also included are neverbefore displayed sketches by Alexander Calder for Martha Graham. Free admission, Power Center LobbyGreen Room. Open to the public during all performances. Underwritten by Matthew C. Hoffmann Jewelry Design, Ann Arbor.
Wednesday, October 26 12:003:00pm
Lamentation Tour
A touring presentation of the Martha Graham solo ballet Lamenlalio7i will visit a number of sites in and around Ann Arbor with Martha Graham Company Dancers. Free admission, Washtenaw Council for the Arts Loft (12:00pm), University of Michigan School of Music, Macintosh Theatre (12:30pm), Pitlsfield Elementary School (1:00pm), . University pf Michigan School of Art, Slusser Gallery (1:30pm), Washtenaw Community College Auditorium (2:00pm), Angell Elementary School ( 2:15pm).
Thursday, October 27
9:00am Session I
Welcome and IntroductionOverview
Kenneth C. Fischer, Executive Director,
University Musical Society Peter Sparling, Chair, UM Department of Dance;
Former Principal Dancer, Martha Graham
Dance Company
Barbara Groves, Executive Director, Martha j Graham Dance Company Ronald Protas, Artistic Director, Martha Graham
Dance Company Free Admission, Rackham Amphitheatre.
9:30am 12noon
Session II
Historical and Critical Perspectives on
Martha Graham
Moderator; Francis Mason, Chairman Emeritus, Martha Graham Center of Contemporary Dance; Editor, Ballet Review, Editor of the book, I Remember Balanchine, Coauthor with Balanchine of 101 Stories of the Great Ballets
Panelists: Anna Kisselgoff, Dance Critic, The New York Times
Deborah Jowitt, Dance Critic, The Village Voice
Janet Soares, Chair, Department of Dance, Barnard College, Author of Ijuis Horst: Musician in a Dancer's World
Free Admission, Rackham Amphitheatre.
2:00pm 3:00pm
Session III
American Masters Screening: "Martha
Graham: The Dancer Revealed."
Free Admission, Rackham Auditorium.
3:00pm 4:00pm
Session IV
Commentary and Discussion on
the Videobiography
Commentators: Ronald Protas, Artistic Director,
Martha Graham Dance Company Anna Kisselgoff, Dance Critic, The New York Times Free Admission, Rackham Auditorium.
4:00pm 5:00pm Session V
Graham and the Future:
The School, the Company, the Repertory
Moderator: Diane Gray, Associate Artistic
Director, Martha Graham Dance Company
Panelists: Ronald Protas, Artistic Director, Martha Graham Dance Company
Members of the Martha Graham Dance Company
Free Admission, Rarkham Auditorium.
7:00pm 10:00pm
Session VI
Graham as. Woman
and Creative Force )
Moderator: Susan Isaacs Nisbett, Dance Critic,
The Ann Arbor News . '
Panelists: Abigail Stewart, Director, Women's
Studies Program, University of Michigan;
Professor, Department of Psychology,
University of Michigan Diane ApostolosCappodona, Professorial
Lecturer in Religion and the Arts,
Georgetown University and editor, Isamu
Noguchi: Essays and Conversations Sophie Maslow, Former Principal Dancer, Martha
Graham Dance Company Beth Genne, Assistant Professor, UM Department
of Dance; Lecturer in Art History, UM
Residential College
Cosponsored by the UM Center faf the Education of Women. Free Admission, Rackham Auditorium.
Friday, October 28 .
10:00am 12noon Session VII ,
Reminiscences: Graham Dancers and Collaborators Remember
Moderator: Francis Mason, Chairman Emeritus, Martha Graham Center of Contemporary Dance; Editor, Ballet Review, Editor of the book, Remember Balanchine, Coauthor with Balanchine of 101 Stories of the Great Ballets
Free admission, Rackham 4th Floor Assembly Hall.
1:30pm5:00pm
The Martha Graham Film FestivalTours of Exhibits.
Four consecutive films exploring the life and work of Martha Graham comprise The Martha Graham Film Festival, which receives its first screening in the Rackham Amphitheatre. (A sec?ond screening will take place at UM Museum of Art AV Room, Saturday, October 29, 11:00am 2:30pm.) Exhibitions in the UM Museum of Art and the Power Center Lobby will be open during this time. Free Admission.
The Martha Graham Film Festival
A Dancer's World (1957, b&w, 30 min.) Martha Graham discusses the dancer as a creative artist, as members of the her dance, company illus?trate her theories.
Night Journey (1960, b&w, 29 min.) Appalachian Spring (1959, b&fw, 32 min.) Night Journey retells the Oedipus legend from Jocasta's point of view; Appalachian Spring evokes the wedding day of a young pioneer couple in the early American wilderness.
Martha Graham: Three Contemporary Classics (1984, color, 85 min.)
Includes three Graham ballets: Errand into the Maze and Cave of the Heart, both with sets by Isamu Noguchi and part of the Festival repertoire, and Acts of Light.
5:00pm
Philips Educational Presentation
Medea in Modern Performance
Yopie Prins, UM Assistant Professor of English
r
and Comparative Literature An introduction to the Medea of Euripides and Martha Graham's interpretation. Free Admission, sUM Museum of Art. Underwritten by a grant fiom Philips Display Components Company.
8:00pm
Program I 5 5
The Martha Graham Dance Company
The Ann Arbor Symphony Orchestra Stanley Sussman, conductor Paid admission, Power Center.
Program
Satyric Festival Song (1932, Fernando Palacios) lamentation (1930, Zoltan Kodaly) Panorama (1935, Norman LloydSussman, arr.) Cave of the Heart (1946, Samuel Barber) Acts of Light (1981, Carl Nielsen)
10:00pm
Opening Night Reception
$10.00 admission, Power Center Green RoomLobby Underwritten by Matthew C. Hoffmann Jewelry Design, Ann Arbor.
Saturday, October 29 9:30am 11:00am
A Chance to Dance with Graham
Members of the Martha Graham Dance Company will direct this participatory workshop which offers the opportunity to experience some of the 'same movements to be featured in the 2pm Family Performance. Free admission, Power Center Rehearsal Room. Ticketholders for the, 2pm Family Show must call the UMS Box Office at 313.764.2538 to reserve places in the workshop.
10:00am 11:00am
Session VIII
Daughters of the Sun: Noguchi's Voyage
from Medea to Circe
Diane ApostolosCappodona, Professorial Lecturer in Religion and the Arts, Georgetown University; Editor, Isamu Noguchi: Essays and Conversations This session explores the groundbreaking collab?oration of the sculptor, Isamu Noguchi, and Martha Graham, and features a demonstration of Noguchi's "spider dress" for Cave of the Heart. . Free Admission, UM Museum of Art.
11:00am 2:30pm
The Martha Graham Film Festival (Repeat screening)
A second screening of four films exploring the life and work of Martha Graham. See Friday, Oct. 28, 1:30pm, above, for details on the films. Free Admission, UM Museum of Art AV Room.
11:30am 1:00pm
Shaping Space through Sculpture and Dance
Hosted by the UM Museum of Art's ChAMPs pro?gram (Children's Arts Museum Programs), this is a special workshop for children ages 513. Watch Noguchi's famous1 "spider dress" come to life.', Then experiment with strange and wonderful materials to build anddance in your own sculp?turesetcostume. Free Admission, UM Museum of Art. Registration includes a ticket to the 2pm Family Show by the Martha Graham Dance Company (paid admission). CaU313.747.2064.
2:00pm
Family Performance n
The Martha Graham Dance Company
A onehour lecturedemonstration tailormade . for the family! Paid admission, Power Center.
Program
Satyric Festival Song (1932, Fernando Palacios) Tjanang Sari (Choreographed by Steve Rooks,
Instructor, Martha Graham School of
Contemporary Dance) Maple Leaf Rag (1990, Scott Joplin) Lamentation (1930, Zoltan Kodaly) Appalachian Spring (1944, Aaron Copland)
i(excerpt)
3:00pm 5:00pm Session IX
Martha Graham and Her Collaborators: The Alchemy of Graham's DanceTheater
Moderator: Beth Genne, Assistant Professor, UM
Department of Dance; Lecturer in Art
History, UM Residential College Panelists: Stanley Sussman, Principal Conductor,
Martha Graham Dance Company Pearl Lang, Artistic Director, Pearl Lang Dance
Company; Former Dancer, Martha Graham
Dance Company Diane ApostolosCappodona, Professorial
Lecturer in Religion and the Arts, . Georgetown University and editor, Isamu
Noguchi: Essays and Conversations. Erick Hawkins, Former Principal Dancer, Martha
Graham Dance Company, Founder and Artistic
Director, Erick Hawkins Dance Company Sophie Maslow, Former Principal Dancer,' Martha
Graham Dance Company; Artistic Director
and Choreographer, Sophie Maslow Dance
Company Wayne Shirley, Music Specialist,
The Library of Congress Vicki Reisner Wulff, Dance Specialist,
The Library of Congress Free Admission, Rackham Amphitheatre.
5:00pm 5:30pm
CostumeParade Discussion
A closeup look at Graham as costume designer, featuring dancers modelling costumes, with com?mentary. Free Admission, Rackham Amphitheatre
5:30pm 6:00pm Session X
Jean Rosenthal:
Master Lighting Designer
A discussion of Jean Rosenthal as Graham collab?orator and innovator of dance lighting. Free Admission, Rackham Building
6:00pm 8:00pm
PrePerformance Supper
$25 admission, Rackham Auditorium 4th floor , Assembly Hall, Call (313) 7642538.
8:00pm '
Program II
The Martha Graham Dance Company
The Ann Arbor Symphony Orchestra Stanley Sussman, conductor Paid Admission, Power Center.
Program
El Penilente (1940, Louis Horst) Panorama (1935, Norman Lloyd) Dark Meadow (1946, Carlos Chavez) Maple Leaf Rag (1990, Scott Joplin)
Sunday, October 30
12:30pm 2:00pm
Philips Educational Presentation
The Making of Appalachian Spring
Wayne Shirley, Music Specialist, Library of Congress Free Admission, Rackham Amphitheatre. Underwritten by a grant from Philips Display
Components Company.
1
2:00pm Program HI
The Martha Graham Dance Company Appalachian Spring: Celebration of an American Masterwork ?
The Ann Arbor Symphony Orchestra Stanley Sussman, conductor A special multimedia event commemorating the 50th anniversary to the day of the premiere of the Aaron CoplandMartha Graham collaboration, Appalachian Spring (Ballet for Martha), first per?formed at the Library "of Congress on October 30, 1944. This event features readings, music, films, commentary, and a performance of the ballet Paid admission, Power Center.
In the American Grain: The Martha Graham Centenary Festival
Principal Partners
Festival Planning Committee
Members are in bold face.
The Martha Graham Dance Company, America's oldest and most influential dance troupe, has circled the globe numerous times, performing for audiences in the world's most prestigio.us venues in 50 countries. The Company is the professional performing ensemble of the The Martha Graham Center of Contemporary Dance, a notforprofit corporation. Martha Graham and her Company, separately and together, have received numerous awards and honors, as well as decades of consistent critical acclaim. Barbara Groves, Ron Protas, Bill Ferry, Diane Gray, Penny Daulton
Now entering its 116th season, the University Musical Society of the University of Michigan (UMS) is one of the oldest continuing per?forming arts presenters ranking with Carnegie Hall, Lincoln.Center, Boston's Celebrity Series, and the Washington Performing Arts Society at the Kennedy Center as among the finest presenters in the country. The UMS hosts approximately 60 concerts each season of the world's most acclaimed chamber ensembles, recitalists, symphony orchestras, dance companies, and world music ensembles as well as opera, jazz, the?atrical arts and popular attractions. Although it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the UMS is a separate notforprofit ' organization, which supports itself from tickets, contributions, and endowment income. Kenneth Fischer, Michael Kondziolka, Adam Glaser, John Kennard, Ede Bookstein, Judy Fry, Helen Siedel, Catherine Arcure, Yoshie Campbell
Founded in 1800, the Library of Congress is the largest library in the world, with more than 105,million items on 53a miles of bookshelves. The Music Division was created in 1897 to deal with music deposited for copyright. Today, its collections consist of over 10 million items cov?ering the subject of music, includ?ing print and nonprint materials. Many of our 600 special collections focus on American music, and have been acquired through generous gifts; a significant number of origi?nal music manuscripts have been acquired through commissions offered by the Music Division (including Appalachian Spring, a 1944 Coolidge commission). The Music Division also sponsors an ambitious concert and broadcast series. James Pruett, Wayne Shirley, Vicky Wulff
The University of Michigan Department of Dance is one of die finest schools in the country for training and experience in dance performance and choreography. Part of the prestigious UM School of Music, it offers 60 dance majors in both undergraduate and gradu?ate degree programs the expertise of its six fulltime and four parMime faculty members-many of them prominent dance artists -as well as the academic and cultural resources of a large, firstclass university. Faculty: Mary Cole, Gay Delanghe, Bill DcYoung, Jessica'Fogel, Beth Genne (Dance and Art History), Judy Rice, Stephen Rush, Biza Sompa, Peter Sparling (Chair), Linda Spriggs, Karen Walwyn; Suzanne Jones, Administrative Assistant.
Collaborative Partners
The University of Michigan Museum of Art houses a rich permanent col?lection with representative holdings from both the Western and Asian traditions. In addition to its perma?nent collection, the Museum offers a changing series of special exhibi?tions, family programs, chamber concerts, and a full complement of interpretive programs. William Hennessey, Leslie Anne Stainton, Ellen Plummer, Leslie Austin
The University of Michigan Center for the Education of Women ' (CEW), now celebrating its 30th anniversary, was one of the first women's centers in the United States and the first to combine ser?vice, advocacy, and research. CEW lias lii'cunu a national model for its leadership in addressing women's concerns at ihe'linivtrsity of Michigan and beyond. Carol Hollenshead, Judy Lax, Susan Halloren, Jean Manis
The University of Michigan School of Music consistently ranks among the top Tialfdozen music schools in the United Stales. It enrolls 800 stu?dents pursuing degrees at the undergraduate through doctoral levetj in practically all fields of music, dance, and theater perfor?mance and scholarship. The extra?ordinary faculty includes perform?ers currently active on the intenatjonal stage; former members op major symphony orchestras, opera houses, dance and theater compa?nies; prizewinning composers;, and scholars who are leaders in their dis?ciplines. Stephen Shipps, Dean Paul Boylan, Richard Crawford, Anneke Overseth
Comprised of faculty members, and occasionally advanced students of the University of Michigan School of Music, the Michigan Chamber Players presents four to six concerts a year,, two of which are sponsored by the University Musical Society. While these concerts normally involve smaller groups, the Players performance of music commis?sioned by Marth Graham will utilic larger ensembles of up to 15 players under the direction of guest con?ductor Stanley Sussman. Stephen Shipps, Stanley Sussman
Founded in 1987, the University of Michigan Institute for the Humanities is the centerpiece of the University's effort to promote broad, collaborative, integrative teaching and research in the humanities. Each year, the Institute organizes activities around an annu?al theme, choosing faculty graduate students, and visiting fellows with research projects and teaching pro?posals connected to the announced theme or problem of the year. Mary Price, James Winn . ?
Founded in 1965,Vashtenaw Community College strives to make a positive difference in people's lives through programs that are excellent and accessible. WCC's occupational programs prepare peo?ple for jobs while its transfer pro?grams help students make the move to a fouryear college. WCC also offers a wide variety of noncredit continuing education workshops and seminars, as well as training programs for business and industry. Noonie Anderson
The Ann Arbor Public Schools is at the center of a threeweek residency "engaging members of the Martha Graham Dance Company with the Ann Arbor community, October 9 30, featuring special opportunities to observe and work with company members in rehearsals, classes and special youth performances. The Schools is proud of its tradition of excellence in Arts Education. All students study music and visual art through 6th grade, and many elect dance.music, theatre and visual art classes through 12th grade. Additionally, creative movement receives significant attention through curriculumbased move?ment and dance workshops. The residency activities with the Graham Company are part of an ongoing collaborative effortetween the Schools and the University Musical Society to offer Ann Arbor students many workshop, residency, and youth performance opportunities throughout the year. Deborah Kalz
The Ann Arbor Symphony Orchestra, founded in 1928, cele?brates its 66th season in 199495. The AASO has enjoyed a meteoric transformation over the past eight years, going from a small ensemble that performed modest programs for free to an orchestra that is "in excellent hands and...on the cutting edge" (Ann Arbor News). AASO Music Director Samuel Wong is con?sidered one of thcmost exciting conductors of his generation and is soughtafter worldwide as a guest conductor. The AASO performs subscription concerts approximately once a month throughout the school year the historic Michigan Theater, as well as collaborating with other organizations such as the University Musical Society and the Ann Arbor Cantata Singers. Lori Cheek, Mary SteffekBlaske, Stanley Sussman
Other members of the Festival Planning Committee include Susan Isaacs Nisbett, Anna Kisselgoff, JoAnn Germain, Margo Cohen, and Peter Beudert. Thank you all for your time and dedication.
Special Project Support This project is made possible in part by a grant from the Lila WallaceReader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters. This project is also made possible by grants from The Grayling Fund and support by Arts Midwest members and friends in partnership with the National Endowment for the Arts. In addi?tion, we are grateful to the Ford Motor Company for making possi?ble the Saturday, October 29, after?noon family show which is a part of the Ford Family Series, and The Michigan Conncil for Arts and Cultural Affairs.
Special Thanks
Thank you to an anonymous donor for the series of Alexander Calder sketches created for Martha Graham which are on display in the Power Center Green Room and to Matthew C. Hoffman, Jewelry Design for helping to make its display possible.
Alexa Lee Gallery and Framing, 201 Nickels Arcade, Ann Arbor for the framing of the Calder sketches.
Judy Dow Alexander Bentley Historical Library Deanna Dorner Susan Farr Brett Finley Matthew Hoffman Marilyn McNitt Michael Patterson Dr. Maria Roberlson Michele Rudnick Deborah SiposRoe Tony Tapia Ellie Thomassen Jessica Vinter Elise Weisbach
Martha Graham Center for Contemporary Dance, Inc.
Artistic Staff Artistic Director
Ronald Protas Associate Artistic Director
Diane Gray Rehearsal Director
Carol Fried
Administration Executive Director
Barbara M. Groves ' General Manager
William Ferry Company Manager
Penelope Daulton Special Projects Coordinator
Kendra Lou Legal Counsel
Kevin Rover, Esq.
Tour Management
North America
John Luckacovic,
Columbia Artists
Management, Inc. France
Benedicte Pesle,
ArtService International Italy
Peter Klein
Living Arts, Inc. Spain
Rial & Eshelman
Performing Arts South America
Alejandro Szterenfeld,
Conciertos Gama
Finance
Director of Finance
Michele Etienne Assistant Director of Finance
Elizabeth Love Accountants
Lutz &: Carr
Development
Director of Development Bronwyn Long Director of Membership Ana Paula Tavares
Production
Technical Director
Jim McWilliams Lighting Director
Steven L. Shelley Electrician
Gavin Homes Sound
James Gregorio Costxtmer
Russ Vogler Stage Manager
Amy Richards Assistant Lighting Director
Judith M. Daitsman Wardrobe Assistants
Jeffrey Wirsirig
Karen Young Production Assistant
Emiliano Pares
Board of Trustees
Chairman Jildith G. Schlosser
Chairmen Emeriti ' Francis S. Mason, Jr. Alexander E. Racolin Mrs. Evelyn Sharp Lee L. Taub
Board Members
Mark Bahti
Polly Bergen
Mrs. John Catsimatidis
Richard Driehaus
Vivian V. Eyre
Nancy Falkin
Mrs. Gerald R. Ford
Michael Gallo
Ciro A. Gamboni
Baroness HoyningenHuene
Donna Karan
R. E. Kassar
Deborth Kramm
Francis S. Mason, Jr.
Liza Minnelli
Gregory Peck
A. Elizabeth Pickering;
Carol Prins
Ronald Protas
Alexander Racolin Keith Schaefer Mrs. Evelyn Sharp Frances SingerHayward Deborah L. Talbot Elizabeth Taylor Celeste Weisglass Mrs. Inger K. Witter Gay Firestone Wray Janice Zones
Martha Graham School of Contemporary Dance, Inc.
Founder Martha Graham
Executive Director of School
Diane Gray
Administrative Director of School
Nolini Barretto Ensemble Director
Susan Kikuchi Administrative Coordinator
Carol Ann Stutz Financial Aid Administrator
Karen PriceScott Dean of Students
Marianne Bachmann Maintenance Supervisor Louis Rodriguez Receptionist
Joseph Clifford
School Faculty Founding Director Georgia Graham Sargeant
Takako Asakawa Marianne Bachmann Armgard Von Bardeleben Maher Benham Jacqulyn Buglisi Terese Capucilli Christine Dakin Janet Eilber Donlin Foreman Carol Fried Diane Gray Joyce Herring David Hochoy Susan Kikuchi Pearl Lang Peggy Lyman Steve Rooks Bert Tcrborgh Kenneth Topping Denisc Vale
Brenda BadenSemper Thea Nerissa Barnes Lyndon Branaugh Katherine Crockett Ted Dalbotten, Music Justin Dellojoio, Music David Hochay " Laura Jimenez Sandra Kaufmann Lone Kjaer Larsen Robrecht Liekens Martin Lofsnes Kaye Richards Susan Sender Zeynep Tanbay Amanda Thomas Yung Yung Tsaui Myra Woodruff
Guest Teachers Dorothy Bird Ethel Butler Kazuko Hirabayashi Linda Hodes Sophie Maslow May O'Donnell Jeanne Ruddy Mamie Thqmas David Wood Yuriko
School Musicians
Chairman
Reed Hansen Geoffrey Armes Patrick Byers Quentin Chiapetta Patrick Daugherty Ethan Iverson John McDowell Andy Monroe Jeanette Miller Andy Rosen James Steeber William Lcvine
The Martha Graham School of Contemporary Dance is the original and only authorized school of Mardia Graham Technique?. The School perpetuates the instruction of Graham Technique and prepares student to become professional dancers in the Martha Graham Dance Company and other major dance companies throughout the world. The School offers four pro?grams: the Trainee Program -a two year certificate program in Graham Technique, the Foreign Student Program, the General Program for nonprofessional dancers, and the Children and Teens Program. Outreach projects include the Arts Excellence in Education, bringing dance classes and live performances to the New York City Public Schools, and the Arts Alliance Program, a coopera?tive artsineducation program with the Port Washington Union Free School District. Classes are also offered in partnering, repertory, music, costuming, movement for ? actors, and choreography. For infor?mation please contact the Martha Graham School of Contemporary Dance, 316 East 63rd Street, New York, NY 10031. Telephone: (212) 8385886. FAX: (212) 2230351.
Martha Graham's choreography and costumes and Isamu Noguchi's sets are used by permission of the Estate of Martha Graham.
The Martha Graham Center for Contemporary Dance, Inc. houses both the Martha Graham Dance Company and the Martha Graham School of Contemporary Dance. The Martha Graham Center is a notforprofit corporation which is supported largely through taxdeductible contributions from indi?viduals, corporations and founda?tions. Contributions may be sent to the Martha Graham Center of Contemporary Dance, Inc., 316 East 63rd Street, New York, NY 10021. Telephone: (21a) 8329166. fax: (212) 2230351.
The Martha Graham Guild is a sup?port organization assisting the Martha Graham Dance Company and School through membership contributions and Guildsponsored activities. The Honorary Chairmen is Mrs. Gerald R. Ford. The CoChairmen are Ms. Deborah Kramjn and'Ms. Inger Witter. For further information about membership or volunteering, please contact the Guild Coordinator, 316 East 63rd Street, New York, NY 10021. Telephone: (212) 8329166. fax: (212) 2230351.
The Martha Graham School Boutique is located on the second , floor of theMartha Graham School at 316 East 63rd Street, New York, NY 10021. A selection of Company and School tshirts, sweatshirts, video cassettes, tote bags, notecards, books and posters are sold. Members of the Martha Graham Guild receive a' 10 discount. Orders may be placed over the tele?phone by calling (212) 8385886 or by fax (212) 2230351.
The Martha Graham Ensemble is ' comprised of a select group of advanced and professional level scholarship students from the Martha Graham School under the direction of Susan Kikuchi. The Ensemble tours in small theaters , throughout the United States and also presents a onehour introducto?ry lecturedemonstration program of excerpts and complete works from the Martha Graham repertory for school audiences in the metro?politan area. For tour information call Gary Lindsey Artist Services at (800) 9445412. For information on school programs call Carol Ann Stutzat (212) 8385886.
The Artists employed in these pro?ductions arc members of the American Guild of Musical Artists aflcio, the union of professional dancers, singers and staging person?nel in the United States. The Technicians are members of the International Alliance of Theatrical Stage Employees.
Us
mi) ioi 1 10 u
frederica von Stade
mezzosoprano Maitin JCatz, piano
Sunday, November 13, 4:00 pm Hill Auditorium
As she nters the third decade of an extraordinary career, Frederica von Stade continues to reign as one of the music world's most beloved mezzosopranos. A noted bel canto specialist, she excels effortlessly as she traverses all musical styles and characterizations. Ms. von Stade makes her Ann Arbor debut. Program
Ms. von Stade will perform a program which includes songs of MarieJoseph Canteloube, Francis Poulenc, Richard Strauss, Alberto Ginastera, and Arnold Schoenberg.
. Philips Educational Presentation: Richard LeSueur, Head of Technical Semces, Ann Arbor Public Library and Director. Vocal Arts Information Semces. "They Call Her Flicka." Michigan League, 3:00 pm.
Oslo Philharmonic
Marissjansons, conductor Jpefim (Bronfman, piano
Tuesday, November 29, 8:00 pm Hill AuditoriurtK
"One of Europe's hidden orchestral treasures" {San Francisco Examiner), the Oslo,Philharmonic is led by Marissjansons, who returns to Hill Auditorium after last season's triumphant performance with the St. Petersburg Philharmonic. Pianist Yefim Bronfman joins the orchestra for a rare performance of Bartok's Piano Concerto No. 1. "[Jansons] had an unmistakable presence, creating a carefully etched musical architecture with extraordinary technical control" (The New York Times).
Program
Bartok: Piano Concerto No. 1 Shostakovich: Symphony No. 9 Ravel: La Valse
University Musical Society
or lhc University of Michigan Burlon Memorial Tower Ann Arhor. Ml 481091270
313.764.2538
From outside the 313 area code, call tollfree
1.800.221.1229
lsl
mmoment
Bill X Jones Arnie Zane Dance Company
Still Here
Friday, March 24, 8pm Saturday, March 25, 8pm
Power Center
What does it mean to be told that a virus that . causes AIDS is in your blood It is a question such as this that speaks to the fundamentals of the human condition -survival and death -and one which speaks to all of us. StillHere is a therapeutic experience made of dance, folk music, rock and video, which turns such issues into a healing artistic vision. Conceived of and created by Bill T. Jones for his company, this fulllength evening work is a mustsee for everyone interested in life, love, sharing and humanity.
Philips Educational Presentation:
A Survival Symposium with Bill T. Jones and an Ann Arbor community panel.
Tins project is supported by Arts Midwest members andjriends in partnership with the
National Endowment for tlh
"The most versatile and inventive of Americas black dancerchoreographers" -Time Magazine
University Musical Society
Call for tickets
313.764.2538
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then as now a marvel practically unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a fullsize stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. "Talkies" replace silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in a style which was architecturally inappropriate. Through the '60s and '70s the 1800seat theater struggled against changes in the film industry and audiences until the nonprofit Michigan Theater Foundation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of the Theater to its prior glory, the Michigan Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar mailing address and box office location for UMS concertgoers.
In a 1921 commencement address. University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of UM alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses contributed to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
Arts Midwest Minority Fellow
The University Musical Society is pleased to have been selected as a host site for its second Arts Midwest Minority Arts Administration Fellow. Morning Bishop, founder and director of the Morning Bishop Theater Playhouse in Gary, Indiana, is spending four months at UMS this fall to enhance her present arts administra?tion skills, to develop a network of new contacts, and to increase her awareness of the challenges facing persons of color in the field of arts administration. Arts Midwest works in partnership with private and public arts supporters throughout the Midwest to translate human and financial resources into enriching arts experiences for Midwestern residents.
Volunteers & Internships
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances, and serving as goodwill representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 7471175 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts manage?ment, marketing, journalism, publicity, and promotion. Semester and yearlong internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 7646199 for more information. We look forward to hearing from you!
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function of assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individu?als who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The allvolunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
"Desert Island Discs"
Coproduced by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings.WUOM91.7 FM, Ann Arbor; WVGR104.1 FM, Grand Rapids; WFUM91.1, Flint.
College WorkStudy
Students working for the University Musical Society as part of the College WorkStudy program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives workstudy financial aid and who is interested in working for the University Musical Society, please call 7642538.
When it comes to our communities,
QUALITY of life IS JOB 1.
AT FORD MOTOR COMPANY, we believe in giving back to our communities. To do that, we support the ARTS, by sponsoring concerts and art exhibits, and by providing financial support to museums and public radio and television. We support EDUCATION, by working with schools to improve adult literacy, and through many other programs. We support SOCIAL ENDEAVORS, by contributing to local hospitals, charities, minority activities and humanitarian organizations. At Ford, we depend on our COMMUNITIES, and our communities know they can depend on us.
19941995 Season
Concert Schedule
The Chick Corea Quartet"+
Saturday. October 1, 8pm
Guarneri String Quartet'
Sunday, October 2, 4pm
Made possible by a gift from Edward Surovell CompanyRealtors.
The Michael Nyman Band'
Saturday, October 8, 8pm
Made possible by a gift from Drs. Carol and Irving Smokier
The Philadelphia Orchestra
Wolfgang Sawallisch, conductor
Tuesday, October 18, 8pm
Made possible by a gift from First of America BankAnn Arbor.
This concert is presented in honor of Dr. and Mrs. Harlan Hatcher
Uptown String Quartef+
Friday, October 21, 8pm
Made possible by a gift from Mary SteffekBlaske and Thomas Blaske and a grant from CHAMBER MUSIC AMERICA'S PresenterCommunity Residency Program. This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Michigan Chamber Players Faculty Artists Concert'
The Music of Martha Graham Sunday, October 23, 4pm
In the American Grain:
The Martha Graham Centenary Festival
The Martha Graham Dance Company
Friday, October 28, 8pm (Program I)'
Saturday, October 29, 8pm (Program II)
Sunday, October 30, 2pm"
(Program III --Appalachian Spring: Celebration
of an American Masterwork)
Saturday, October 29, 2pm (Family Show)'
This project is made possible in part by a grant from the Lila
WallaceReader's Digest Arts Partners Program which is
administered by the Association of Performing Arts Presenters.
This project is also made possible by grants from The Grayling
Fund and support by Arts Midwest members and friends in
partnership with the National Endowment for the Arts. In addition,
we are grateful to the Ford Motor Company for making possible the
Saturday. October 29. afternoon family show which is a part of the
Ford Family Series.
Whirling Dervishes of Turkey'
Friday, November 4, 8pm
A Celebration of the Spiritual' Jester Hairston, conductor
with the UMS Choral Union
Sunday, November 6, 4pm
Made possible by a gift from The Anderson AssociatesRealtors
In addition, we are grateful to the Ford Motor Company for making
possible the Sunday, November 6. afternoon family show which is a
part of the Ford Family Series.
Tnuatron Dance Troupe
Tuesday, November 8, 7 pm
This program is part of the Mid EastWest Fest International
Community Exchange sponsored by Lufthansa and the W. K. Kellogg
Foundation, major sponsors, and Hudson's and the DaytonHudson
Foundation.
In addition, we are grateful to the Ford Motor Company for making
possible this performance which is a part of the Ford Family Series.
I'll Lemper, vocalist
Friday, November 11, 8pm
Frederica von Stade, mezzosoprano"
Martin Katz, piano Sunday, November 13, 4pm
The 2nd Annual
UMS Theatre Residency:
The Shaw Festival
The Front Page
Wed., November 16, 8pm
Friday, November 18, 8pm'
Saturday, November 19, 2pm
Arms and the Man
Tuesday, November 15, 8pm
Thursday, November 17, 8pm"
Saturday, November 19, 8pm
Sunday, November 20, 2pm
Made possible by gifts from TriMas and the
Detroit & Canada Tunnel Corporation.
Oslo Philharmonic Mariss Jansons, conductor Yeflm Bronfman, piano
Tuesday, November 29, 8pm
Roberto Aussel, guitar
Friday, December 2, 8pm
Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, music director
and conductor
Saturday, December 3, 8pm
Sunday, December 4, 2pm
Made possible by a gift from Wolverine
Temporaries Inc
Sweet Honey in the Rock'
Friday, January 6, 8pm
Made possible by a gift from Great Lakes Bancorp
The Complete Piano Music of Frederic Chopin, Part I
(1 st of 3 installments) Garrick Ohlsson, piano
Friday, January 13, 8pm"
Ruth Brown' +
Saturday, January 14, 8pm
Part of the University of Michigan's 1995 Rev.
Dr. Martin Luther King. Jr. Day Symposium.
Spiritual Ensemble of Harlem
Sunday,January 15, 7pm Free and open to the public. Tickets required.
Copresented with the University of Michigan Office of the Vice Provost for Academic and Multicultural Affairs as pan of the University's 1995 Rev. Dr. Martin Luther King. Jr. Day Symposium.
Academy of SL MartinintheFields Iona Brown, conductorviolinist
featuring Vivaldi's The Four Seasons Sunday, January 22, 7pm
Made possible by a gift from British AirwayslConlinFaber Travel
JeanPierre Rampal, flute'
John Steele Ritter, piano Wednesday, January 25, 8 pm
The Romeros, guitar family'
Friday, January 27, 8pm
Noa, vocalist, and Gil Dor, guitar'
Thursday, February 9, 8pm
This program is part of the Mid EastWest Fest International Community Exchange sponsored by Lufthansa and the W. K. Kellogg Foundation, major sponsors, and Hudson's and the DaytonHudson Foundation.
The Society Bank Cleveland Orchestra Weekend
The Cleveland Orchestra
Christoph von Dohnanyi, music director
Friday, February 3, 8pm"
Special Performance!
The Cleveland Orchestra Christoph von Dohnanyi, music director Emanuel Ax, piano Saturday, February 4, 8pm
Chamber Music with Members of the Cleveland Orchestra
Sunday, February 5, 4pm
Made possible by a gift from Society Bank, Michigan. This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
AnneSophie Mutter, violin
Lambert Orkis, piano Saturday, February 11, 8pm
Made possible by a gift from ParkeDais Pharmaceutical Research.
Freiburg Baroque Orchestra Drew Minter, countertenor
Sunday, February 12, 7pm
Kodo Drummers'
Monday, February 13, 8pm Tuesday, February 14, 8pm
Hagen String Quartet'
Thursday, March 2, 8pm
Made possible by a gift from Curtin &Alf
Violinmakers.
New York City Opera National Company
Rossini's II Barbiere di Siriglia (The Barber of Seville) Tuesday, February 28, 7pm (Family Show) Wednesday, March 1, 8pm Friday, March 3, 8pm" Saturday, March 4, 8pm Sunday, March 5, 2pm Made possible by a gift from JPEinc. We are grateful to the Ford Motor Company for making possible the Tuesday, February 28, family show which is a part of the Ford Family Series.
Warsaw Sinfonia'
Krzysztof Penderecki, conductor
Allison Eldredge, cello
Saturday, March 11, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(2nd of 3 installments) Garrick Ohlsson, piano
Sunday, March 12, 4pm'
Lincoln Center Jazz Orchestra
Wednesday, March 15, 8pm
Presented in conjunction with UM Office of Major Events (MEO).
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm
Maurizio Pollini, piano
Monday, March 20, 8pm
Bill T. JonesArnie Zane Dance Co. -StillHere
Friday, March 24, 8pm Saturday, March 25, 8pm
Cleveland String Quartet'
Giora Feidman, clarinet Sunday, March 26, 4pm Made possible by a gift from Edward Surovell Company!Realtors
Michigan Chamber Players Faculty Artists Concert
Tuesday, March 28, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(3rd of 3 installments) Garrick Ohlsson, piano
Friday, March 31, 8pm
Anonymous 4, vocal quartet'
Saturday, April 1, 8pm
Royal Concertgebouw Orchestra
of Amsterdam'
Riccardo Chailly, conductor
Thursday, April 6, 8pm
Julian Bream, guitar
Tuesday, April 25, 8pm
Detroit Symphony Orchestra'
Jerzy Semkov, conductor Edith Wiens, soprano Florence Quivar, mezzosoprano UMS Choral Union Sunday, May 14,4pm
"Indicates Philips Educational Presentation in conjunction with this performance. Call 313.764.2538 for details. +The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM. Public Radio from Eastern Michigan University.
Advertising with the University Musical Society
Four years ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and service. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS program books to reach you, our worldclass audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For informa?tion about how your business can become a UMS advertiser, call (313) 7646199.
Acknowledgements
In an effort to help reduce distracting noises and enhance the concertgoing experience, the WarnerLambert Company is providing complimentary Halls MenthoLyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1994 Lincoln Town Car to provide transportation for visiting artists.
Direction
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The Split Rock Lighthouse was built in 1910 to warn Great Lakes mariners away from the treacherous cliffs of
Minnesota in western Lake Superior.
UMSCard
Subscribers who purchase at least $100 worth of tickets and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants:
Amadeus Cafe Maude's
Gandy Dancer SKR Classical
Kerrytown Bistro The Earle
Tower RecordsBooksVideo Cafe Marie
Gift Certificates
What could be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in 1990 with special onehour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its sixth year under the Education Depart?ment, the UMS Youth Program continues to expand, with a performance by the Martha Graham Dance Company for middle and high school students, a performance by the Shaw Festival for high school students, and two fourthgrade opera performances, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the fourday multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival," the Graham Company presents a special youth program to middle and high school students on Friday, October 28.
Friday, November 18, area high school students will experience a fulllength performance of the Shaw Festival's production of Shaw's Arms and the Man.
On Friday, March 3, 1995 2700 fourthgraders will visit the Power Center for abbreviated onehour performances of Rossini's Barber of Seville. These performances allow children to experience opera that is fullystaged and fullycostumed with the same orchestra and singers that appear in the fulllength performances.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call Education Coordinator Helen Siedel at 313.936.0430.
The 199411995 UMS Education Program is underwritten in part by the McKinley Foundation. ERIM. the Bernard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, and the Michigan Council for the Arts and Cultural Affairs.