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UMS Concert Program, Thursday Nov. 12 To 22: University Musical Society: 1998-1999 Fall - Thursday Nov. 12 To 22 --

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University Musical Society
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Season: 1998-1999 Fall
University Of Michigan

St. petersDurg rniin arm onic moon Kremer jonn wuua Jniversity Musical Society of the University of Michigan Fall 1998 Season C pitol Steps Guarneri String Quartet Bill T. Jonr Anie Zane Dance Company Budapest Festival Orches Aidras Schiff David Daniels La Capella Reial de Catalur Michigan Chamber Players Kirov Orchestra Vienna Virtue J zz Tap Summit American String Quartet Mitsuko Uchi ssad Brothers Sequentia A Huey P. Newton Sto Enerson String Quartet The Harlem Nutcrack f andel's Messiah Trinity Irish Dance Compa G i r s h w i n : Sung and Unsung Renee Fleming The Gosr. a Colonus Anne Sofie von Otter Chamber Music Socic o Lincoln Center Merce Cunningham Dance Compa Naxim Vengerov Orpheus Chahiber Orchest eryl Tankard Austral,i aapip anceii Theatre Ko
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University Musical Society
of the University of Michigan
The 1998-99 Fall Season
Letter from the President Corporate LeadersFoundations UMS Board of DirectorsSenate
StaffAdvisory Committees General Information Ticket Services UMS History UMS Choral Union Auditoria Burton Memorial Tower Education and Audience Development Season Listing
Concert Programs begin after page 26 Volunteer Information Hungry
UMS Dining Experiences Restaurant & Lodging Packages
Gift Certificates
The UMS Card
Sponsorship and Advertising
Advisory Committee
Group Tickets
Ford Honors Program
UMS Contributors
UMS Membership
Advertiser Index
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: Celia Cruz in her long-awaited UMS debut; Christoph Eschenbach leading the Chicago Symphony Orchestra.
A Letter from the President
Welcome to this University Musical Society performance. Thank you for supporting UMS and the performing arts in our community by attending this event. The 1998-99 season is one of our most exciting ever. So diverse in its scope, it is impossible for me to zero in on just one event. Complementing our continued focus on music of all kinds, I would like to make special mention of our emphasis on dance and dance audience development this season. As our 1998-99 dance promotional campaign states, UMS is "simply committed to the best in dance for Michigan."
We're very pleased that you're at this event and hope you'll consider attending other UMS performances as well as some of the educational and social events surrounding our concerts.
You'll find listings of all of these events in this program book on page 22 through 25.
I'm privileged to work with a dedicated and talented staff. One of them, box office representative Sally Cushing, is celebrating 30 years with UMS this season, representing the longest-serving employee among our current staff. The entire UMS family 1 joins me in thanking Sally for her loyalty, friendli-I ness, and commitment to providing outstanding service to all of our patrons. Say "hi" to Sally
when you next call or stop by the box office. I hope we have a chance to meet. I'd like to hear your thoughts about this performance. I'd also be pleased to answer any questions and to learn anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If we don't see each other in the lobby, please call my office at Burton Tower on the campus (734-647-1174) or send me an e-mail message at
Kenneth C. Fischer, President
Thank You, Corporate Leaders
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of local?ized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cornerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University
Musical Society.
F. Bruce Kulp
Chair, UMS Board of Directors
President, Arbor TemporariesPerson nel Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
HABTE DADI Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
WILLIAM BROUCEK President and CEO, Bank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
Carl A. brauer, Jr.
Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
SAM EDWARDS President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
DAVID G. LOESEL President, T.M.I.. Vrtttures, Inc. "Caft Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
KATHLEEN G. CHARLA President, Charla
Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
Anthony F. Earley, Jr.
Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
Peter Banks
President, ERIM
"At ERIM International,
we are honored to
support the University
Musical Society's
commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
L Thomas Conlin
(Juiinnan of the Hoard and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Edward Surovell
President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
Douglas d. freeth
President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community which
perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our
LEO LEGATSKI President, Elaslizell Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
Alex Trotman
Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
JORGE A. SOUS First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
William s. hann
President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
Mechanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 84 years, and UMS has been here for 120, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
Dennis Serras
President, Mainstrcet 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 bring?ing high level talent to the Ann Arbor
Miller, Canfield,
Paddock and Stone,
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JOE 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."
Ronald m. cresswell, ph.d.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
President, TriMas Corporation "By continuing to support this out?standing organiza?tion, I can ensure that the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
Joseph sesi
President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
Dr. James R. Irwin
Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University 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."
University Musical Society of the university of Michigan
K Bruce Kulp, Chair
Marina v.N. Whitman, Vice Chair
Stuart A. Isaac, Secretary
Elizabeth Yhouse, Treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollingcr
Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Ion Cosovich Ronald M. Cresswell Robert F. DiRomualdo
David Featherman Beverley B. Geltner Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts
Joe E. O'Neal Richard H. Rogel George I. Shirley Herbert Sloan Carol Shalita Smokier Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M.Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms James J. Duderstadt Robben W. Fleming Randy J. Harris
Walter L. Harrison Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long Judythe H. Maugh
Paul W. McCrackcn Alan G. Mcrten John D. Paul Wilbur K. Pierpont lohn Psarouthakis Gail W. Rector John W. Reed Harold T. Shapiro Ann Schriber
Daniel H. Schurz John O. Simpson Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
UMS STAFF AdministrationFinance
Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Croup Sales
Choral Union
Thomas Sheets, Conductor
Edith Leavis Bookstein,
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Catherine S. Arcure, Director
Elaine A. Economou, Assistant
Director--Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Michiko Murray, Advisory
Liaison J. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Ben Johnson, Director
Kate Remen, Manager
Susan Ratcliffe, Assistant
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric Bassey, Production Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomantas, Assistant Head Usher
Michael). Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Laura Birnbryer Rebckah Camm lack Chan Nikki Dobell Mariela Flambury Bert Johnson Melissa K.n Un Jung Kim Beth Meyer Amy Tubman
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
Lcn Niehoff, Chair Maureen Isaac, Co-Chair leva Rasmussen, Secretary
Lisa Murray, Staff Liaison Gregg Alf Martha Ause Pauletl Banks Kathleen Beck Jeannine Buchanan Lctitia I. Byrd Betty Byrne Phil Cole Mary Ann Daane H. Michael Endres Don Faber Penny Fischer Sara Frank Barbara Gelehrter Bevcrley B. Geltncr
Joyce Ginsberg Linda Greene Debbie Herbert Tina Goodin Hertel Darrin Johnson Barbara K.ihn Mercy Kasle Steve Kasle Maxine Larrouy Beth Lavoie Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Merz Ronald Miller Robert Morris Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin
Mary Pittman
Nina Hauser Robinson
Maya Savarino
Meg Kennedy Shaw
Aliza Shevrin
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Kathleen Treciak Van Dam
Dody Viola
UMS TEACHER ADVISORY COMMITTEE Fran Ampey Kitty Angus Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Barbara Boyce
Letitia J. Byrd Naomi Corera Carolyn Hanum Taylor Jacobsen Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Weinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or handicap. Tite University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General 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 self-serve 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. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
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 perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic 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 box office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Refreshments are served in the lobby during intermissions 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.
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 wheelchair-accessible restroom is located on the north side of the main lobby and off of 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 bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main floor seating area.
St. Francis: Men's and women's rooms are located in the basement at the bottom of the front lobby stairs.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
on the University of Michigan campus
From outside the 313 and 734 area codes,
call toll-free
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society of the university of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leader?ship coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millennium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university
and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perfor?mance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 80 performances and more than 150 educational events each season. UMS has flourished with the support of a generous community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and Nichols Arboretum.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation, which supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
For more information about the UMS Choral Union, please call 734.763.8997.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conduc?tors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daplmis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with per?formances of Berlioz' Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include perfor?mances with the Grand Rapids Symphony, join?ing with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Evidence of the Choral Union's artistic range can be found in the breadth of repertoire from the 1997-98 season: on one hand, the singers gave acclaimed performances of Mendelssohn's Elijah and Handel's Messiah in Hill Auditorium, and on the other, equally successful concert pre?sentations of Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical theatre favorites with Erich Kunzel and the DSO at Meadow Brook.
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, this impressive structure has served as a showplace for a variety of impor?tant debuts and long relationships throughout the past 84 years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orches?tras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra perform-
ing Beethoven s Symphony No. 5. The auditorium seated 4,597 when it first opened; sub?sequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased
the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conve?niences.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based
on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was bro?ken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the
Auditoria, continued
acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musi?cians and an acoustical virtue to rival the world's great opera houses, the 2,800-seat facil?ity has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming col?laboration with the Nederlander organization and Olympia Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 performers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administrative location for the University Musical Society. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the impor?tance of live performing arts as well as the major impact the arts can have in the com?munity, UMS now seeks out active and dynamic collaborations and partnerships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) perfor?mances. This year, more than 7,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly sched?uled evening and weekend performances and providing educational contexts. For more information on UMS youth education pro?grams, please call 734.647.6712.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program. UMS is also recognized as a "Partner in Excellence" by the Ann Arbor Public Schools.
The Youth Performance Series is sponsored by
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
MASTER OF ARTS INTERVIEW SERIES Now entering its third year, this series is an oppor?tunity to showcase and engage our artists in infor?mal, yet in-depth, dialogues about their art form, their body of work and their upcoming perfor?mances. This year's series includes interviews with:
Maestro Valery Gergiev of the Kirov Orchestra of St. Petersburg
Jazz Tap Summit dancers and choreographers
Pianist Mitsuko Uchida
Choreographer Merce Cunningham
Composer Steve Reich and Filmmaker Beryl Korot.
Kimberly Camp, Director of the Museum of African American History in Detroit, inter?views choreographer Donald Byrd
This series of pre-performance presentations fea?tures talks, demonstrations and workshops designed to provide context and insight into the performance. Led by local and national experts in their field, all PREPs are free and open to the public and begin one hour before curtain time. Some highlights from this year's series include:
Greg Hamilton of the Academy of Early Music hosts a brief interview with Jordi Savall, violist and Music Director of Hesperion XX.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes three of the four concerts by the American String Quartet.
David Vaughan, company archivist for the Merce Cunningham Dance Company, leads talks on Cunningham's 50-year body of work.
Professor Kenn Cox interviews members of the Lincoln Center Jazz Orchestra,
And other highlighted PREPs featuring Naomi Andre, Richard LeSueur and other experts.
Dr. Alberto Nacif leads a demonstra?tion before the per?formance by Los Munequitos de Mantanzas
RESIDENCY ACTIVITIES UMS residencies cover a diverse spectrum of artis?tic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemon?strations, in-class visits, master classes, workshops, seminars, symposia, and panel discussions. Most activities are free and open to the public and occur around the date of the artist's performances. Major residencies for the 9899 season are with:
Jazz Tap Summit
American String QuartetBeethoven the Contemporary Series
A Huey P. Newton Story
The Gospel at Colonus
ImMERCEsion: The Merce Cunningham Dance Company
For detailed Residency Information, call 734.647.6712.
The Meet the Artist Series provides a special oppor?tunity for patrons who attend performances to gain additional understanding about the artists, perfor?mance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage. This year, patrons will have the opportunity to meet, among others:
Choreographers Bill T. Jones, Merce Cunningham and Meryl Tankard
Members of the a cappella group Sweet Honey in the Rock
? Actor Roger Guenveur Smith
The American String Quartet and composer Kenneth Fuchs
The Emerson String Quartet with pianist Menahem Pressler
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on going efforts to incorporate the arts in the curriculum. This year's workshops include three by Kennedy Center educa?tors and three led by local experts tailored to UMS performances:
Bringing Literature to Life. Workshop Leader: Leonore Blank Kelner, Kennedy Center Arts Educator, Monday, October 12,4-7 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-5.
The Gospel at Colonus. Tuesday, December 8,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Kodo. Monday, January 25,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Alvin Ailey American Dance Theater. Tuesday, February 2,4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Storytelling: Involving Students in African Tales. Workshop leader: Dylan Pritchett, Kennedy Center Arts Educator, Monday, March 8,4-7 p.m., Balas II building, Ann Arbor, Grades 1-6
Special Education: Movement Strategies for Inclusion. Workshop leader: Eric Johnson, Kennedy Center Arts Educator, Monday, March 22,4-7 p.m. Washtenaw Intermediate School District, Ann Arbor, Grades K-8.
The Teacher Workshop Series is made possible in part by the generous support of the Charles Reinhart Realty Company.
Information on the above events can be found in the season listing in the following pages, the UMS Fall and Winter brochures, the Fall and Winter Education Listings or on the UMS Website at:
1998-99 UMS Season
Look for related Educational Events listed in blue.
EIKO & KOMA: RIVER Friday, September 11, 8:15 P.M. Saturday, September 12, 8:15 P.M. Seating on the banks of the Huron River in the Nichols Arboretum. Master Classes taught by Eiko. Ten places per class open to the public, no oberservers. Thursday, September 10,11 a.m. and 12:45 p.m., U-M Dance Department. Call 734-763-5460 to register. Brown Bag Lunch Video talk led by Eiko and Koma of their "Environmental Trilogy: Land, Wind and River" Friday, September 11,12 noon, U-M Institute for the Humanities.
Delicious Movement Class for dancers, musicians, singers, actors and visual artists taught by Eiko and Koma. Saturday, September 12, 12 noon, Dance Gallery) Peter Sparling & Co. Call 734-747-8885 to register.
Sunday, September 27,4 P.M. Hill Auditorium
Sponsored by McKinley Associates. Media Partner WGTE.
Friday, October 9,8 P.M.
Michigan Theater
Sponsored by Charles Hall with additional
support from AAA Michigan. Media partner
Saturday, October 10, 8 P.M.
Hill Auditorium
Sponsored by Charla Breton Associates.
Media Partner WGTE.
Wednesday, October 14,8 P.M.
Rackham Auditorium
Sponsored by Red Hawk Bar & Grill and
Friday, October 16, 8 P.M.
Michigan Theater
Presented in partnership with the U-M
Institute for Social Research in Celebration
of its 50th Anniversary. Media Partner WEMU.
GUARNERI STRING QUARTET Sunday, October 18 P.M. Rackham Auditorium Sponsored by Deloitte & Touche.
Friday, October 23, 8 P.M.
Power Center
Masterclass led by [and Wong, Company
Rehearsal Director. Wednesday, October
21,7 p.m., Dance GalleryPeter Sparling &
( o. Call 734-747-8885 to register.
Master Classes led by lanet Wong,
iompany Rehearsal Director and dancer
Alexandra Bcller. Ten participant and ten
free observer places per class open to the
public. Thursday, October 22. 11 a.m.
and 12:45 p.m., U-M Dance Deptarment.
( all 734-763-5460 to register.
PREP Video talk of liill T. Jones' work.
Friday, October 23, 7 p.m., Ml League
Koessler Library.
Meet the Artists Post-performance dialogue
from the stage.
Media Partner WDET.
Saturday, October 24, 8 P.M.
Hill Auditorium
PREP "Hartok and Stravinsky at the
( rossroaJs" (llenn W'atkins, Earl V. Moore
Professor Emeritus of Musicology.
Saturday, October 24, 7 p.m., MI league
Koessler I ibrary.
Sponsored by Thomas B. McMullen Co.
Media Partner WGTE.
DAVID DANIELS, COUNTERTENOR WITH THE ARCADIAN ACADEMY NICHOLAS MCGEGAN, DIRECTOR AND HARPSICHORD Tuesday, October 27, 8 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Friday, October 30, 8 P.M.
St. Francis of Assisi Catholic Church
PREPCireg Hamilton of the Academy of
liarly Music interviews lordi Savall.
Friday, October 30, 7 p.m., St. Francis
School Music Room.
Sunday, November 1,4 P.M.
Kai.kli.nii Auditorium Complimentary Admission
Master of Arts Interview and Open Rehearsal Conductor Valery Gergiev interviewed by Ann Arbor Symphony Orchestra Conductor Sam Wong. Monday, November 2, 1 p.m.. Hill Auditorium. Presented with the generous support of Dr. Herbert Sloan. Media Partner WGTE.
VIENNA VIRTUOSI PRINCIPAL MEMBERS OF THE VIENNA PHILHARMONIC ERNST OTTENSAMER. CLARINET Thursday, November 5,8 P.M. Rackham Auditorium Presented with support from Butzel Long, Attorneys and Counselors.
Saturday, November 7, 8 P.M.
Hill Auditorium
Photo Exhibit "Plenty of Good Women
[ tancers: African American Women
Hoofers from Philadelphia." October 19-
November 13, Ann Arbor District Library,
Main Branch.
Gifts of Art Local and national tap artists
perform. Thursday, November 5, 12
noon. U-M Hospital Main Lobby.
Master of Arts Interview with .mists
from la lap Summit. Friday, November
( 7 p.m., Ml League Hussey Room.
Master Classes with tap artists featured
in laz Tap Summit. For information and
registration, call Susan Filipiak of Swing
City Dance Studio, 734-668-7782.
I.. lap LectureDemonstration by
Dianne Walker. Saturday, November, 7,
I p.m., Ann Arbor district Library.
Tap Jam Saturday, November 7, 7 p.m.,
Hill Auditorium plaza.
Sponsored by ElastizelL Media Partner WEMU.
BEETHOVEN THE CONTEMPORARY Sunday, November 8,4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistant Professor of Musicology, with U-M School
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information. -
ot Musk student musicians. Sunday, Nov?ember 8,3 p.m., Rackham Assembly I lall. Meet the Artists Post-performance dialogue from the stage.
Delicious Experience The American String Quartet [S patrons as
a p.irt of the I'MS Delicious Experience series. Monday, November 10. For infor-mation .mil reservations call 734-936-6837. Brochure available in hue September. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
MITSUKO UCHIDA. PIANO Wednesday, November 11,8 P.M. Hill Auditorium
Master of Arts Interview with Mitsuko IVhid.i. Tuesday, November 10,7 p.m., U-M School of Music Recital Hall. Media Partner WGTE.
Thursday, November 12,8 P.M.
Rackham Auditorium
Sponsored by NBD. Additional support
provided by Crown House of Gifts.
Friday, November 13,8 P.M. St. Francis of Assisi Catholic Church PRliP Benjamin Bagby, director of Ordo Virtutum. Friday, November 13,7 p.m., St. Francis School Music Room. Presented with support from the Consulate General of the Federal Republic of Germany. Media Partner WDET.
Wednesday, November 18 Saturday,
November 21,8 P.M.
Trueblood Theatre
Lecture Ahmed Rahman, Ph.D. student in
history. Thursday, November 19,5 p.m.,
CAAS Lounge, 209 West Hall.
Meet the Artists Post-performance dialogue
from the stage alter each performance.
Media Partner WEMU.
Sunday, November 22,4 p.m.
Rackham Auditorium
Meet the Artists Post-performance
dialogue Irom the stage.
PREP The Trials and Tribulations of
Brahms' Piano Quintet" U-M Professor
EUwood Derr, Sunday, November 22, 3
P.M. Ml League, Vandcnbcrg Room.
Sponsored by Bank of Ann Arbor.
THE HARLEM NUTCRACKER DONALD BYRDTHE GROUP MUSIC BY DUKE ELLINGTON AND DAVID BERGER Friday, November 27 Sunday, December 6 12 performances, Detroit Opera House. Co-presented with the Detroit Opera House and The Arts League of Michigan Youth Gospel Choirs Pre-performance songs by area youth gospel choirs sung in the lobby of the Detroit Opera House. Lobby Exhibit Photo exhibit of local African American family life in the 1920s. Detroit Opera House lobby. Sponsored by the University of Michigan with additional support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner VMXD.
Saturday, December 5,8 P.M.
Sunday, December 6, 2 P.M.
Hill Auditorium
Presented with the generous support of
Jim and Millie Irwin.
Friday, January 8, 8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by First of America Bank.
Saturday, January 9,8 P.M. Sunday, January 10,4 P.M. Lydia Mendelssohn Theatre Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
RENEE FLEMING, SOPRANO Thursday, January 14, 8 P.M. Hill Auditorium
PREP Naomi Andre U-M Assistant Professor l Music History and Musicotogy. Thursday, January, 14,
7 p.m., MI League llussev Room. Sponsored by Pepper, Hamilton and Scheetz, L.L.P. Media Partner WGTE.
Friday, January 15 Saturday, January 16,
8 P.M.
Sunday, January 17,3 P.M. Monday, January 18, 3 P.M. Choir Workshop with the music director of The 'iospel at Colonus, Saturday, November 14, Museum of African American Histpy in Detroit. Call 734-647-6712 for information and registration. Community Gospel Sing Along with the cast of 77k Gospel tit Colonus. Wednesday. January 13, 7 p.m. (:.ill 734-647-6712 for information and registration. Family Performance Special one-hour performance for parents and their children. Saturday, lanuaiy 16, 2 p.m.. Power (lenter. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from the l.ilu Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU.
continued ...
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Thursday, January 28,8 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
DAVID SHIFRIN, ARTISTIC DIRECTOR BENGT FORSBERG, PIANO Friday, January 29,8 P.M. Lydia Mendelssohn Theatre PREP Richard LeSueur, Vocal Arts Information Services, Friday, January 29, 7 p.m., MI League Hussey Room. Sponsored by KeyBank with additional sup?port from Maurice and Linda Binkow and STM, Inc. Media Partner WGTE.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY ONE-HOUR FAMILY PERFORMANCE Saturday, January 30,2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP Steven Whiting, U-M Assistanl Professor of Musicology with U-M School (tt Music student musicians. Sunday, February 7, 3 p.m., Ml League Vandenberg Room.
Meet the Artists Post-performance dia?logue from the stage with the ASQ and composer Kenneth Fuchs. Lecture by composer Kenneth Fuchs. Monday, February 8, 12 noon, U-M School of Music, Room 2033. Panel Discussion "Interdisciplinary t Creativity in the Arts" moderated b English Professor Julie Ellison, in conjunction with the Beethoven the Contemporary and Merce Cunningham Residencies.
Tuesday, February 9, 7 p.m., Rackham Amphitheater.
Sponsored by Edward Surovell Realtors with support from the Lita Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
Friday, February 12 Saturday, February 13,8 P.M. Power Center
Mini-Course U-M students can earn 2 credit hours in a course drawn from the IMS residency. Information session held in January. Call 734-763-5460 for information. Brown Bag Lunch about N fence Cunningham. Tuesday, January 12,12 noon, U-M Institute for the 1 lumanities. Cunningham Company Family Event Parents and their children (ayes 7 and up) explore visual an, dance and music in a workshop which culminates in a tree per?formance and reception at the Power Center on Wednesday, February LO. Workshop held Saturday, February 6, -1 p.m. at the Ann Arbor Art ("enter and Dance (JalleryPeter Sparling & Co. Call 734-994 8004 xlOl for information and regis?tration, or walk-in registration .it the Ann Arbor Art Center.
Youth and Adult Art Classes with con?nections to the Cunningham Company held in the fall and winter. Call 734-994-8004 xlOl for information and registra?tion, or walk-in registration at the Ann Arbor Art (enter.
Lobby Exhibit Art from the youth class at the Ann Arbor Art Center on display February 1-14, Power Center Lobby. Brown Bag Lunch on )ohn Cage's Cartridge Music, presented by Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, February 9, 12 noon, U-M Institute for the Humanities.
Music and Dance for choreographers and composers, with Laura Kuhn, Director oi the John Cage Trust and U-M Professor Stephen Rush. Tuesday, February 9, 2:45 p.m., U-M Dance Building Studio A. Master of Arts Interview Choreographer Merce Cunningham is interviewed by Roger Copeland with video clips of his work. Thursday, February 11,7 p.m., U-M Dance Building, Betty Pease Studio. Advanced Technique Master Classes taught by Meg Harper. Ten participant and ten free observer places per class open
to the public, with eight classes available. Tuesday, February 9 Friday, February 12, U-M Dance Dept. Call 734-763-5460 to register.
Advanced Technique Master Class taught by Meg Harper. Saturday, February 13, 10:30 a.m., Dance GalleryPeter Sparling & Co. ( all 734-747-8885 to register. Study Day Cunningham Company Archivist David Vaughan leads class and discussions of Cunningham and his col?laborators' works at an open class and company rehearsal. Saturday, February 13, 11 a.m.. Power ("enter balcony. Call 734-647-6712 for information and regis?tration.
PREP Company Archivist David Vaughan leads a video discussion of Cunningham works. Friday, February 12, 7 p.m., Modern Languages Building Lecture Room. Meet the Artists Post-pel formance dia?logue from the stage, Friday, February ]2. PREP Company Archivist David Vaughan leads a video discussion ot (lunningham works. Saturday, February 13, 7 p.m., Ml league 1 lusscy Room. Media Partner WDET.
MAXIM VENGEROV, VIOLIN IGOR URYASH. PIANO Sunday, February 14,4 P.M. Hill Auditorium
Sponsored by Sesi Lincoln-Mercury. Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO, GUITAR Monday, February 15, 8 P.M. Rackham Auditorium
Friday, February 19 Saturday,
February 20,8 P.M.
Power Center
PREP Video talk of Meryl Tankard's work.
Friday, February 19, 7 p.m., MI League
Hussey Room.
PREP Video talk of Meryl Tarkard's work.
Saturday, February 20,7 p.m., MI League
Koesslcr Library.
Meet the Artists Post-performance di.i
logue from the stage.
Media Partner WDET.
Tuesday, February 23 Thursday,
February 25,8 P.M.
Power Center
Sponsored by NSK Corporation with support
from Beacon Investment Company and the
Blue Nile Restaurant. Media Partner WDET.
Thursday, March 11,8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18,8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video t.ilk of signature Ailey pieces. Friday, March 19, 7 p.m., MI league Vandenberg Room.
PRFP Video talk ol signature Ailey pieces. Saturday, March 20. 7 p.m., MI League I lussey [loom.
Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS PETER PHILLIPS, DIRECTOR Wednesday, March 24, 8 P.M. St. Francis of Assisi Catholic Church
Thursday, March 25, 8 P.M. Michigan Theater
Presented with support from Republic Bank. Media Partner WDET.
Friday, March 26,8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stae.
Presented with support from Comerica
Bank and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media Partner WEMU.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussion, and keynote speaker Michael Steinberg on Beethoven and contemporary composers. Saturday, March 27, 2 p.m., U-M School of Music Recital Hall. PREP Steven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sunday, March 28, 3 p.m., Rackham Assembly I [all.
Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
STEVE REICH ENSEMBLE Saturday, April 10, 8 P.M. Michigan Theater
Master of Arts Interview Composer Steve Reich and Filmmaker Beryl Korot inter?viewed by Mark Stryker. Friday, April 9, time and location TBD. Media Partner WDET.
Thursday, April 15,8 P.M.
Hill Auditorium
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
Friday, April 16,8 P.M.
Michigan Theater
Media Partner WEMU.
EWA PODLES. CONTRALTO JERZY MARCHWINSKI. PIANO Saturday, April 17,8 P.M. Lydia Mendelssohn Theatre
PREP by Richard LeSueur, Vocal Arts Information Services. Saturday, April 17, 7 p.m.. Modern Languages Building Lecture Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
Sunday, April 18,8 P.M.
St. Francis of Assist Catholic Church
Thursday, April 22, 8 P.M. Michigan Theater Media Partner WDET.
Friday, April 23, 8 P.M. Hill Auditorium
PREP Kenn Cox, Professor of Music at Michigan State and Wayne State Universities, interviews members of the Lincoln Center Jazz Orchestra. Friday, April 23,7 p.m., MI League Husscy Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
Sunday, AprU 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund.
University Musical Society
of the University of Michigan 1998-1999 Fall Season
Event Program Book Thursday, November 12 through Sunday, November 22, 1998
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will 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 Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 734-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Assad Brothers with Badi Assad Menagerie
Thursday, November 12, 8:00pm Rackham Auditorium
Friday, November 13, 8:00pm
St. Francis of Assisi Catholic Church
A Huey P. Newton Story
Wednesday, November 18, 8:00pm Thursday, November 19, 8:00pm Friday, November 20, 8:00pm Saturday, November 21, 8:00pm Trueblood Theatre
Emerson String Quartet
Sunday, November 22, 4:00pm Rackham Auditorium
Please Note
Due to illness, Badi Assad will not be able to perform at this evening's concert. Sergio and Odair Assad will be performing a full recital.
Federico Moreno Torroba
Domenico Scarlatti (arr. S. Assad)
Darius Milhaud (arr. S. Assad)
Egberto Gismonti (arr. S. Assad)
Astor Pi'azzolla
Marc Mellits Alberto Ginastera
Estampas (excerpt)
Bailando un fandango charro
La siega
Fiesta en el pueblo
La boda
Sonata in f minor, L. 118 Sonata in D Major, L. 465
Baiao Malando Agua e Vinho Infancia
Tango Suite
Miniatures (dedicated to the Assads)
Sonata No. 1, Op. 22 (excerpt) Adagio molto appassionato Ruvido ed ostinato
Assad Brothers with Badi Assad Menagerie
Sergio and Odair Assad, Duo-guitarists Badi Assad, vocals, guitar, and percussion Jeff Scott Young, guitar; Simone Soul, percusssion
NBD Bank
Domenko Scarlatti (arr. S. Assad)
Darius Miihaud (arr. S. Assad)
Astor Piazzolla
Alberto Ginastera
Thursday Evening, November 12,1998 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Sonata in f minor, L. 118 Sonata in D Major, L. 465
Tango Suite
Sonata No. 1, Op. 22 (excerpt) Adagio molto appassionato Ruvido ed ostinato
Sergio and Odair Assad INTERMISSION
Badi Assad Menagerie
Badi Assad will announce her program from the stage.
Closing selections to be performed by Sergio, Odair, and Badi Assad.
Nineteenth Performance of the 12O'h Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Jorge Solis for his generous support through NBD Bank. Additional support for this performance is provided by Crown House of Gifts.
Management for Sergio and Odair Assad: Arts Management Group, Inc. Management for Badi Assad: Boomerang Management
Large print programs are available upon request.
Sonata in f minor, L. 118 Sonata in D Major, L. 465
Domenico Scarlatti
Born October 26, 1685 in Naples
Died July 23, 1757 in Madrid, Spain
Little in the early career of Domenico Scarlatti suggested that he would ever write music suited to the sound-world of guitar. Scarlatti grew up in the shadow of his famous father, the premiere opera composer of the day, and while the boy showed extra?ordinary talent for the keyboard, his creative gifts did not seem to be of the same order. In adulthood, he proved at first to be noth?ing more than a dependably skilled but thoroughly conventional church and theatre composer. In 1720 or 1721 however, Scarlatti became Royal Music Master at Lisbon, where his chief duty was to provide challenging keyboard music for the gifted Princess Maria Barbara. Eventually Scarlatti wrote over 500 sonatas for his patroness, and in this genre he found and continued to develop the free-wheeling, scintillating style for which he is now noted -a style marked by narrative paradox, dance-like energy, and exotic instrumental coloring. The Princess took Scarlatti with her to Madrid when, through a state marriage, she assumed the neighboring throne as Queen of Spain in 1729. Some of Scarlatti's subsequent music seems to be influenced by the Spanish guitar style, featuring distinctive strummed chords (with "extra" and dissonant notes that suggest a guitar's open strings), as well as sparkling repeated-note effects. The Sonata inminor is a luxuriant lament, much of its poignancy stemming from the rhythmic conflict produced by a languorous triplet figure. The Sonata in D Major is a brilliant "hunting" piece marked by elfin horn-calls and coruscating repeated-note passages.
Darius Milhaud
Born September 4, 1892 in Aix-en-Provence
Died June 22, 1974 in Geneva
In 1937 Milhaud scored a French theatre play named Scaramouche. In its version for two pianos, the piece became widely known and a favorite among piano duets. The first movement, "Vif," is based upon a very pop?ular theme from the time ("Trois esquimaux autour d'un brasero"); the second one, "Modere," is the most developed of the three, slightly recalling Satie's harmonies. The final movement, "Danza brazileira," is an echo from Rio de Janeiro during the 1930s where Milhaud lived and worked as attache culturel at the French Embassy.
Tango Suite
Astor Piazzolla
Born March 11, 1921 in Mar del Plata,
Argentina Died July 5, 1992 in Buenos Aires
Although he studied composition in Paris with Nadia Boulanger, Argentinian-born Astor Piazzolla made his career in his home?land as a composer of popular songs and dance pieces, and as a performer. His instru?ments were the piano and the bandoneon -a form of accordion that evolved in Argentina, and which is used by tango ensembles. In fact, tangos were Piazzolla's specialty, and he had a reputation in Argentina as the "king of the tango". Piazzolla was a relative newcomer to guitar composition when he wrote this work for the Assads, however the movements of the Tango Suite show a thorough understanding of the instrument's character and capabili?ties. Formally, the opening tango, "Deciso," is a three-part structure, with fast sections bracketing a more gentle lilting central part.
The second tango, an Andante, begins sweet?ly, with widely ranging melodic shapes punctuated by brusque chordal figures. These, in turn, lead back to the dreamy mood of the opening bars. The finale, an Allegro, is the most agitated of the three tan?gos; full of bright, rapid chording, speedy single lines, and even a touch of chromati?cism. This time, even the gentler middle sec?tion retains a feeling of energy and zest.
Sonata No. 1, Op. 22
Alberto Ginastera
Born April 11, 1916 in Buenos Aires
Died June 25, 1983 in Geneva
Alberto Ginastera forged an impressive career as an inventive folklore-based com?poser with an unusual flair for modernistic experiment. The Sonata, Op. 22 (1952), tran?scribed from the first of Ginastera's three piano sonatas, was a key work in the com?poser's output, for here he summed up his early keyboard style -a style rich in sophis?ticated rhythms distilled from a lusty folk tradition. The Sonata was commissioned jointly by the Carnegie Institute and the Pennsylvania College for Women, and pre?miered in November of 1952 at the Pittsburgh Contemporary Music Festival. After this piece, Ginastera put aside piano music for almost a decde. Hearing the Sonata, Op. 22 on two guitars serves to emphasize the kinship between this music and Ginastera's subsequent Sonata for Solo Guitar (1976) -particularly in its second movement scherzo, where ghostly presto misterioso effects anticipate the later score. According to the composer, Opus 22 "was inspired by the music of the Argentine pam?pas." Ginastera further observed:
The Piano Sonata is divided into four movements. The third movement, 'Adagio molto appassionato,' corresponds to the
form of a three-part Lied. The theme in the first and third parts appears as a lyric improvisation, the second [section] being of a passionate character. The fourth movement, 'Ruvido ed ostinato,' is built in the form of a rondo in five parts with the style and technique of a toccata. This movement is built on a rhythmic line which changes constantly within a fixed structure.
The composer, without using folkloric material, introduces in his thematic language rhythmic and melodic cells whose expressive tension has a marked Argentinan accent.
The twentieth century has produced a number of guitar duos formed by happenstance or recording-company intervention. But for Brazilian-born brothers Sergio and Odair Assad the roots obviously go much deeper. Today's foremost guitar duo, the Assads have been credited with reviving contemporary music for the instrument. Their virtuosity has inspired a number of composers to dedicate oeuvres to them: Astor Piazzolla, Terry Riley, Radames Gnatalli, Marios Nobre, Nikita Koshkin, Roland Dyens, Dusan Bogdanovic, Jorge Morel, Edino Krieger and Francisco Mignone.
Their uncanny ability to play guitar together was evident at an early age and led them to seven years of study with classical guitarist and lutenist Monina Tavora, a dis?ciple and former pupil of Andres Segovia. Because of this identical musical education and unique experience, the Assad brothers achieve the unified sound and ensemble playing that they are known throughout the world for.
The Assads' international career began with a major prize at the "Rostrum of Young Interpreters" in Bratislava in 1979. Presently
"I believe we were always meant to be a team right from the first time we picked up our guitars. We began playing guitar at exactly the same time, we always studied with the same teachers and learned the same music and techniques. Such interaction can only really happen with brothers, because we shared every aspect of our musical education together."--The Assads', St. Louis Post-Dispatch
based in Europe, the Assads perform often in recital and with orchestras in France, Great Britain, Belgium, the Netherlands, Germany, Poland, the Czech Republic, Slovakia, Slovenia, Austria, Switzerland, Italy, Spain, Portugal and Greece, as well as Australia, Israel, the Far East, North and Latin America. Last season the Assads' North American tour included engagements in New York, Boston, Cleveland, San Francisco, St. Paul, Baltimore, Toronto, Miami and San Juan. Highlights of the 19981999 season include appearances in Ann Arbor, Austin TX, Irvine CA, Boulder CO, and at Spivey Hall in Morrow GA, among many other cities.
Sergio and Odair have recorded over ten CDs. Their Baroque CD (Nonesuch label, 1994) has received wide acclaim and their 1996 release, Saga dos Migrantes (Nonesuch 1996), was a New York Times Critics' Choice selection. Aside from their duo recitals and their appearances with orchestras, they have been collaborating with artists such as Dawn Upshaw, Gidon Kremer, Nadja Salerno-Sonnenberg and Yo-Yo Ma. In June 1996 the Assad Brothers were featured on CBS Sunday Morning with Eugenia Zukerman: the fea?ture was named "Themselves an Orchestra."
Tonight's performance marks the Assad Brothers' third appearance under UMS auspices.
i ith the worldwide i.e. Music release of Chameleon, Badi Assad (pronounced bah-JEE ah-SAHJE) emerges as an important new voice. Badi transcends traditional styles of her native Brasilian music with an exotic mixture of ethnic sounds from around the world. As a result, the extraordinary singer, guitarist, and percussionist is successfully forging an exhilarating genre of music that quite liter?ally defies categorization.
As a singer, Badi is vibrant and electric, responding to her inner passions with deft creativity. As a guitarist, she has inspired audiences and critics worldwide with a unique combination of technical mastery and innovation that has caused many to reexamine their notions about the instru?ment. Through it all, Badi's adventurous spirit and buoyant personality have become an integral part of her music.
Badi Assad was born in the small city of Sao Joao da Boa Vista, Sao Paulo. Her early years were spent in Rio de Janeiro, where the family moved to support and develop the budding talent of her brothers, Sergio and Odair, the famous classical guitarists
"Duo Assad". She attributes the suc?cess of her broth?er's music careers to the strength of
her family and the determination of her parents, Jorge and Angelina. "My father put his whole life aside to give my brothers a chance, and everybody in the little town where we lived said 'Are you crazy to give your life away for two little kids just to play the guitar'"
Watching her brothers' musical develop?ment surely must have had its effect, and her introduction to music came at her mother's urging. "I began to learn piano when I was eight, but all we could afford was a little electronic Yamaha which was
made for kids, and I practiced on it until my hands outgrew the keyboards."
Her guitar studies began in earnest at age fourteen. When her older brothers left home to begin their international careers, Badi became the designated heir apparent as a foil for her father's own bandolin playing. She picked up on the guitar quickly and her father, who had seen this talent before, soon had her studying music at the University of Rio de Janeiro. In 1984 she won the Concurso Jovens Instrumentistas for Young Musicians and was well on her way to devel?oping her own creative direction. In 1987, she was named "Best Brasilian Guitarist of the International Villa-Lobos Festival." A year later, Assad recorded her first solo album, entitled, Danga dos Tons, which was only released in Brasil. The following year she composed Antagonismus, a solo work that incorporated her talents as a singer, gui?tarist, and dancer. Badi was given the chance to focus on her blossoming vocal talents when she was selected out of two hundred women to perform as one of two vocalists in the play "Mulheres de Hollanda." The the?atrical collage of songs by Brasilian compos?er Chico Buarque ran five days a week for
menagerie (me naf e re), n. LA collection
of wild or strange animals, especially for exhibition.
over a year garnering rave reviews for Badi's looming star potential in the process.
With a new found confidence, Badi began to experiment even further with her voice. Mouth percussion and rhythmic body per?cussion became part of this exploration. These elements were intuitively combined with her already impressive guitar approach thus creating excitingly fresh sounds that complemented her visions as musician and performer. Just as badi's innovative new direction began to emerge, opportunities began to present themselves; with 1994 came
her associa?tion with the independent Chesky Records. Her first album, entitled Solo, introduced Badi as a potent force in the guitar world. Her international stature grew with the release of her second
album Rhythms in 1995. In fact, Rhythms was lauded as one of the most important guitar recordings of that year. The album won Guitar Player magazine's Readers' Poll for "Best Classical Album of the Year" (The Guitar Player editors commented: "Not a classical album but played on classical guitar ... close enough!"). In addition, she was voted "Best Acoustic Fingerstyle Player" by Guitar Player magazine editors.
Assad fulfilled her Chesky contract with 1996's beautiful anthology of Brazilian gui?tar composers appropriately entitled Echoes of Brazil. In 1997, Badi was quickly signed to her first major label contract with the brand new PolyGram subsidiary i.e. Music. The result is the ambitious and critically acclaimed ethno-pop soundscapes of Chameleon.
Within three months of its release, the energetic intent of Chameleon is connecting with a multitude of cultures. Badi is current?ly on tour sharing Chameleon's music and mystery with audiences around the world... her breathtaking appearance on the French night-time talk show Canal was seen by over two million viewers leaving the hosts speech?less and the studio audience on their feet. In
July of 1998, Badi played Europe's most renowned summer festivals sharing the stage with such artists as Cassandra Wilson, Joe Cocker, Maria Joao and fellow Brasilians Chico Cesar, Marisa Monte, and Gilberto Gil.
Each review holds the air of discovery, of a new voice for the guitar, of admiration for Assad's innovation and unusual application. According to the Los Angeles Times, "Badi Assad redefines solo [guitar] performance! Revelatory, a brilliant display of innovation, imagination, and skill... almost hypnoti?cally compelling!"
Tonight's performance marks Badi Assad's debut under UMS auspices.
The musical odyssey of guitaristwriterpro?ducer Jeff Scott Young is a colorful one, to say the least. The Musician's Institute gradu?ate launched his career in Hollywood, California as a guitar teacher but it wasn't long before word of his talents as an excep?tionally gifted guitarist were recognized. Members of the popular group Megadeth hired Jeff as lead guitarist to record and tour in support of their now classic album So Far, So Good... So Wlwt! "Although it wasn't the style of music I envisioned myself play?ing for the long term, the whole experience proved a valuable education in how the music business works at a high level. I look back at that part of my life as boot camp... some people do it in the army -I did my time in Megadeth!"
Following this experience, Young took a more relaxed position as columnist for Guitar Magazine where his eclectic column "Fingerprints" became a reader favorite. Today, as co-producer, co-writer, arranger, and guitarist on Badi Assad's groundbreak?ing i.e. Music PolyGram CD Chameleon, Young continues to reveal his talents as a
versatile and creative artist.
Born in Ann Arbor, Michigan, and grow?ing up in the mid-west United States, Jeff began his musical pursuits at a young age. A student of the viola at eight, he eventually switched to tenor saxophone which he stud?ied along with music theory courses for seven years. It wasn't until he was fourteen years-old that he discovered the instrument that would change his life. "A friend of mine had this cheap $20 guitar in his closet. I remember him telling me that he gave up guitar because it was 'too damn hard to play!' so, I traded him an old BB gun for it and the rest is history."
Young continued honing his guitar prowess practicing as much as eight to four?teen hours a day, studying classical guitar with mentor Jim McCutheon, and touring
with various bands. Eventually, growing tired of the limited avenues for musical pur?suit in the mid-west, he moved to Los Angeles, California and graduated in the top of his class from the famed Musician's Institute Guitar Institute of Technology in Hollywood.
When fate cast a world-class opportunity his way in 1986, Young quit his job as a struggling guitar teacher and began a two and a half year whirlwind adventure in rock-stardom. The hours of practice seemed to be paying off as Jeff reaped the experi?ence of arena world tours, achieved two gold records, and even appeared as guest host on MTV. His final Megadeth perfor?mance found him playing before 125,000 at Europe's epic Castle Donnington festival with such legendary bands as Iron Maiden, Kiss, David Lee Roth, and Guns & Roses. Jeff left the group shortly thereafter.
Disillusioned with the rock world, Jeff found refuge as a writer for the popular Guitar Magazine. His monthly Fingerprints column, profiled and transcribed the works of various artists and genres of music. It was during the "Fingerprints" era that Jeff redis?covered his acoustic roots, reconnected with his musical intent, and a fresh phase of his life began. Through another twist of fate, he would meet his future soul mate and musi?cal partner, "I discovered this eccentric gui?tar luthier in New York named Thomas Humphrey. This guy makes the most mirac?ulous nylon-string guitars imaginable! To make a long story short, I was researching Brasilian music and Thomas happened to be friends with the Assad family. He introduced me to Badi and we began working together less than a week after we met. From that point on, I've been swimming in the mystery of this Brasilian music and this Brasilian soul."
Simone Soul began her "drum affair" at the age of fifteen, in Sao Paulo, Brasil under the guidance of teacher Flavio Pimenta. Within two short years, she was already testing her chops in a popular Brasilian rock band. In 1990, Simone moved to Cambridge, England where an African friend introduced her to the world of percussion. Enticed by the exotic sounds of instruments like the "djembe", she joined her friend's Afro-Reggae band and began assisting him in percussion workshops.
Upon returning to Brazil, Simone con?tinued to improve her chops in various bands, eventually sharing the stage with such important reggae artists as Andrew Tosh and Jimmy Cliff. Having established herself as one of the most powerful drum?merpercussionists Brasil has ever seen, Simone drew performance and recording invitations from the likes of fellow players Nana Vasconcelos and Marcos Suzano. These experiences served to enrich her palette of styles with samba, MPB, funk, and exotic instruments such as the Egyptian "durbuka".
In 1992, Simone was invited to play in an all female band called "Orquideas do Brasil," with underground singer, poet, and com?poser Itamar Assumpcao. The fruits of this collaboration bore the CD's Bicho de Sete Cabegas in 1993 and Itamar Sings Ataulfo Alves in 1995. Another important figure that was to enter Simone's life in 1992 was renowned composer and performer Chico Cesar. This long standing relationship has also yielded two CDs thus far, Cuscuz Cla and Beleza Marto. With Chico, Simone has toured extensively in South America and Europe, including two 1998 shows that hap?pened to feature Badi Assad. In fact, it was after Simone was invited to join Badi on stage in Kassel, Germany for impromptu renditions of Chameleon's "Waves," "Butterfly," and "Ai que Saudade d'oce" that
the concept for Badi Assad Menagerie was born.
In addition to bringing her thunderous attack to Chico Cesar and now Badi Assad Menagerie, Simone collaborates with Modern Drummer and Batera Cover maga?zines. Somehow, she also finds time to give workshops for her two endorsers Mapex and Meinl. Watch and listen for Simone Soul to be a driving force in the drum world and on Badi Assad Menagerie's tours and CDs.
Badi Assad Menagerie begins an extensive US tour November 1998.
Barbara Thornton & Benjamin Bagby, Music Directors
Frans-Josef Heumannskamper, Stage Director
Thomas Venable, Costumes
Joachim Kern, Associate Costume Designer
Moritz von Rappard, Lighting Design
Jon Aaron & Joachim Kiihn, Executive Producers
Sequentia Instrumental Ensemble:
Elizabeth Gaver, Director,
Rachel Evans, Medieval Fiddle; Robert Mealy, Medieval Fiddle;
Norbert Rodenkirchen, Medieval Flute
Hildegard von Bingen (1098-1179)
Friday Evening, November 13,1998 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Ordo Virtutum
Twentieth Performance of the 120"1 Season
Tlw photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided in part by the Consulate General of the Federal Republic of Germany.
These performances of Sequentia are produced in association with Aaron Concert Artists Division, Trawick Artists Ltd., New York, NY
This production was prepared under the direction of Barbara Thornton and Benjamin Bagby in June. For the past eighteen months, Barbara Thornton has been battling with a brain tumor. As a result, she and Mr. Bagby are unable to be part of this current tour. Current musical coaching is being done by Pamela Dellal and Janet Youngdahl. All those in this production send our thoughts and prayers to Ben and Barbara.
Large print programs are available upon request.
Humilitas (Humility) Maria Jonas
Felix Anima, Infelix Anima (The Happy Soul I The Unhappy Soul) Pamela Dellal
Scientia Dei, Caritas, Amor celestis (Knowledge of God I Charity I Heavenly love) Rebecca Bain
Diabolus (Devil)
Franz-Josef Heumannskamper
Fides (Faith) Elizabeth Glen
Victoria (Victory) Marianne Nielsen
Innocentia (Innocence) Anna Levenstein
Misericordia (Mercy) Elizabeth Glen
Castitas (Chastity) Caitriona O'Leary
Spes I Verecundia I Patientia (Hope I Shamefastness I Patience) Diane Severson
Obedientia I Disdplina (Obedience I Discipline) Allegra Silbiger
Timor Dei I Contemptus mundi I Discretio (Fear of God I World-rejection I Discretion) Janet Youngdahl
Hildegard von Bingen, the legendary visionary, prophetissa teutonica, and "sibyl of the Rhine", was one of the most important figures in the history of the Middle Ages, along with such women as Eleanor of Aquitaine, Catherine of Siena, and Heloise.
Born in 1098 to the noble family of Hildebert of Gut Bermersheim near Alzey in Rhinehessen, she exhibited exceptional gifts as a young girl. At the age of eight, her spiri?tual training began, and was continued, together with Jutta von Spanheim six years later at the nearby cloister of Disibodenberg. There, she was instructed in the rules of the Benedictine Order (Regula Benedicti), the liturgy, and in the various artes liberales. In 1136, upon the death of her mentor Jutta, she was elected by the nuns as magistra of the convent. Against the wishes of the abbot of Disibodenberg, Hildegard succeeded in founding an independent convent on the Rupertsberg, near Bingen, the construction of which she personally directed. In 1152, the Archbishop of Mainz dedicated the cloister church at Rupertsberg, during a solemn ceremony which probably included the first performance of Ordo Virtutum.
Throughout Hildegard's life, she was continually plagued by illnesses. In 1141, she tells us, these afflictions receded and gave way to a series of religious visions. With the help of Volmar, her secretary, and the nun Richardis, Hildegard was able to record these visions in the book Scivias ("Know the Ways"). The most important manuscript of this work, the Rupertsberger Codex, was completed in ca. 1165 in the famous monas?tic scriptorium. It contains painted miniatures which depict the visions she described. In her lifetime, she was to complete two other books of visions (one with miniatures), and thirteen other works in the fields of theology, medicine, and the physical sciences. In addi?tion, she wrote over 300 letters, the stories
of saints' lives, nearly eighty vocal composi?tions, poetry, and the musical drama, Ordo Virtutum.
Upon hearing excerpts from Scivias at the Synod of 1147, Pope Eugenius III recog?nized Hildegard von Bingen as a true vision?ary and prophet. During her lifetime, her fame spread beyond the Rhineland. She cor?responded with kings, popes, archbishops, and such celebrities as Friedrich Barbarossa and Bernard de Clairvaux, responding to theological questions, making prophecies, and functioning as spiritual guide to the powerful. Despite her delicate health, she made four ambitious preaching voyages to such diverse places as Mainz, Wiirzburg, Cologne, Trier and Metz.
One speaks of Hildegard von Bingen's world view, or cosmos, as being constructed according to the neo-Platonic, feminist and patristic norms upon which accepted twelfth century ecclesiastical education was based. To Hildegard, the universe of her visions was not constructed, but rather revealed. She was not a scholastic; she was a true visionary and prophet.
Although highly educated and undoubt?edly well-indoctrinated in the intellectual traditions of her day, she presented herself above all as a person operating not through her own knowledge, but as the instrumen-tum of God's will.
"The words I speak come from no human mouth; I saw and heard them in visions sent to me God moves where He wills, and not to the glory of earthly man. I am ever filled with fear and trembling. I have no confidence in my own capacities -I reach out my hand to God that He may carry me along as a feather is borne weightlessly by the wind."
She calls herself simplex homo, humilis forma, a childlike, delicate woman, yet her works are infused with extraordinary power and unity of conception. Her creations must be seen as resulting from her personal, mys?tical experiences of God's revealed realm,
and any musical concept of Ordo Virtutum must acknowledge this astounding proposition.
O Barbara Thornton, 1997
The Content of Ordo Virtutum
The Ordo Virtutum of Hildegard von Bingen is thematically bound to her major theological work Scivias. In this large vision cycle, Hildegard reveals a mystic universe in which the history and workings of cosmic forces often take the form of allegorical figures. The musical play which she wrote brings these allegorical figures to life -we see them operating on behalf of the human soul in its earthly struggle against the temp?tations of the devil.
The play opens with the Patriarchs and Prophets, symbols of the Old Testament, filled with wonder as they regard the Virtues, for they bear the loving message of the New Testament. The protagonist of the play is the human Soul, the earthly theater for the con?frontation of heavenly forces, portrayed by Virtues, and the base world, symbolized by the Devil. We see her first clothed in the pure white robes of blessedness, beginning her ascent to the level of the Virtues. Yet, before she has been received by the heavenly dwellers, the Devil gains her attention, and suddenly her deeply dual nature becomes more than she can bear. In disgust she throws off her white robes and embraces the Devil, respond?ing to his promises of renown in the world.
The Virtues suffer in the loss of every soul, and lament loudly over the Devil's vic?tory. Though he hurls insults at them, he cannot harm them. The Virtues then move together, celebrating their blessedness. Each of them introduces herself through an appropriate type of music, and the collective Virtues answer, praising each in turn. The soul returns from her experiences in the world, downtrodden, wounded and embittered.
She calls out to the Virtues, for at present she is too weak to come to them unaided. They raise her up, and she now accepts the white robes of immortality from them. The Devil finds himself confounded in his plans for this soul, and makes one last appeal to join him, but the soul will have nothing to do with him. This constitutes a victory for the Virtues, and Victoria descends upon him and binds him up. The drama is resolved in the general singing of the hymn composed by Hildegard, "In principio" ("In the beginning").
O Barbara Thornton, 1997
The Staging and Costumes of Or do Virtutum
The sources for my staging of Hildegard von Bingen's Ordo Virtutum do not originate in the manuscript of the play, in which only a few indications of dramatic intent are given: roles, dialogue forms and various implied movements which result in dramatic effect. For example, the character of the Soul (Anima) is described as throwing off her white robe, or the Devil (Diabolus) is instructed to destroy with his "shouting" speeches the atmosphere of singing created by the Virtues. Although in later medieval plays the indications of dramatic movement are far more detailed and numerous, in Hildegard von Bingen's Ordo Virtutum, I am more challenged to sense the secrets hidden within the music itself. All these intuitive feelings are combined not only with rigor?ous research, but also attempts to involve my "other self" which is steeped in new music and music theater. In addition to this, subtle indications found in realism, natural?ism and psychology, have provided input for this theater of spirituality. Representational forms from ancient, Far East Asian theatrical traditions can serve as a source of inspira?tion, but equally strong are the illustrations
and symbols from Hildegard's own epoch, as preserved in illuminated manuscripts of her works and others. Finally, there are my own childhood memories from a deeply Catholic part of Germany at a time when the Roman rites were being modernized; the priest at this time still read and sang the mass in Latin, and there was nothing out of the ordinary about that. The characters of Ordo Virtutum should not in any way iden?tify with the allegories they represent, nor should they react obviously in "Reality". It is the body which receives the plane of the Idea, as does the face. The costume design wishes to present feminine splendor, as often written about by Hildegard and espe?cially in terms of her Virtues, in sculptural forms, with color, structure and fabrication, "flashing and radiating in sublime beauty."
Franz-JosefHeumannskaemper, 1998
Qui sunt hi (Who are these)
Who are these characters, and what have they got to do with the human soul
The depiction of the Virtutes (positive Powers, or Virtues) in full combat against the Vices was a widespread literary and illustrative conceit in Hildegard's time. One could say that the human soul in this play confronts a series of female allegorical fig?ures in a cycle of initiation, whereby, at the end, the soul finds itself in utter service to its Creator. [The images presented here are taken largely from Hildegard's own works, and the Virtues, or Powers, are also described here with their modal realizations in the musical structure of Ordo Virtutum.]
The Patriarchs and Prophets' lines rep?resent the low, questioning voices of Old Testament men. Beginning in plagal d-mode, they are answered by the Virtues in the authentic d-mode of optimism in the spirit of the New Testament. The men express
their unending wonderment and awe, changing to e-mode when confronted with the presence of the feminine Powers.
The Embodied Souls are divine sparks which become lodged in human bodies and thereby begin the drama of becoming human beings. Through this process, man must pay homage to his earthly and to his heavenly nature, making his incarnate life one of longing and exile. This is heard in both the instruments and voices in e-mode.
the first man became a living soul; and the last a life-giving spirit. (I Corinthians 15:45)
Felix Anima is the contrast to the mere?ly embodied soul: the happy soul burns in the fire of profound acknowledgment when given life. She is not of the body, she is the fundament of the body, like sap in a tree.
The Infelix Anima, on the other hand, has two natures, two wings. They are joined because they cannot be separated, for as long as human beings abide in the shadow of death, they are bereft of the heavenly gar?ment they lost through Adam, and are avail?able to the doings of the Devil. The Devil, the Virtues, and Anima's mode seem to move in a disorderly fashion between eand d-modes.
Hildegard's Diabolus (Devil) is not a smooth Mephistopheles, but an arrogant tempter who has already suffered defeat by the archangel Gabriel, as described in the Biblical Apocalypse. In Gehenna he lives bound up in chains in eternal Nothingness, from which immobile point he is able to exude poisons to embodied souls on their journey. In Hildegard's world he is incorpo?rated by a "shouting voice," not by singing.
Scientia Dei (Knowledge of God) is introduced beyond the Ordo cycle as a beau?tiful knowledge appearing in people: as a white cloud which passes through human minds as swiftly as air. She sings in a very continuous, insistent, and infinitely sweet e-mode to remind the Soul that she and
Scientia recognize Nature's true reality: "What you see is divine!"
Now the actual Ordo begins, progressing through the modalities and tessiturae of its cycle, and rests in perfect calm at the end. Hildegard discusses these Powers, "God's strongest workers," in all of her works, and each time with a different spirit. The modes of these next seven Powers go between e-and d-modes.
Whoseover, therefore, shall humble himself as this little child, the same is the greatest in the kingdom of Heaven. (Matthew 18:4)
Humilitas (Humility): She who is the queen of the Virtues is the central paradox of the drama: Hildegard describes her cloth?ing as "cheese-like", not reflecting; her lumi?nosity is streaming out from within. And as hills are protected from excessive rains by valleys, so are humans protected from evil by humbleness. She reveals herself in the childlike quality of being human, who as yet knows no pride, hatred, or passion of sin. She wears a royal crown.
Though I speak with the tongues of men and of angels, but have not charity, I am become as sounding brass or a clanging cymbal. (I Corinthians 13:1).
Caritas (Charity) is the essential New Testament figure: she wears clothing of an air-like, intense color of a hyacinth. She is the sky who nourishes greenness and brings flowers to mature fruit, and has been taught to pour out the clearest of streams.
Timor Dei (Fear of God) expresses the fearsomeness of perceiving that there truly is a fearsome God. In Hildegard's illustra?tions she is shown to be supernaturally large in size, shrouded from head to foot in a shadowy garment, and covered with fiery-red eyes of wisdom.
Obedientia (Obedience) is a youthful-looking character bound in shackles repre?senting an unquestioning willingness. At the time when God created all things she was an eye, watching how, in contrast to herself, the first angel came to life; but his works didn't live, since he wanted to be something he was not.
Fides (Faith): for those with Obedience, she shows belief in what one does through faithfully fulfilled deeds, in addition to what one learns by wisdom and admonition. She wears red to symbolize perseverance and the martyrdom of blood.
Spes (Hope) is a youthful woman whose life is not on earth, but who is hidden in heavenly places until the time of the eter?nal reward. Thus she is clad in a pallid-col?ored tunic, and wearily awaits the coming of her longed-for desire, because she has not yet been rewarded.
Castitas (Chastity) is formed with an inviolable, beautiful, and sure integrity: She is dressed more brilliantly and purely than crystal, shining resplendently as sunlight reflecting on water. And the overshadowing wings of the Spirit mean that she can fly through the Devil's snares, one after another.
Two Powers follow, still in eand d-modes: the one the youngest, the other perhaps the oldest of the series:
Innocentia (Innocence) is quintessential-ly child-like: unknowing, untried, untempted.
Thy sun shall no more go down, neither shall the moon withdraw itself, for the Lord will be thy everlasting light, and the days of thy mourning shall be ended. (Is. 60:20)
Contemptus Mundi (World-rejection) stands within a wheel which revolves with?out ceasing, within which she remains motionless in rejection of worldly things. So we live in childish simplicity and a state of innocence.
The next five Powers express human senses, which work together with the person to bear fruit:
Amor Caelestis (Heavenly Love) must exist in people before anything else. In response to Worldly Love, she provides all the contrasting spiritual joys in life and is related to the force behind all growth, expressing celestial harmonies in human sentiments.
Disciplina (Discipline) stands youthful?ly, but is very serious, as she fears reverently and does not try to wield her own power. Her lusts are disciplined by contrition.
Verecundia (Shamefastedness) appears to blush and drive away all confusions. She covers her face with her white sleeve, pro?tecting her inner consciousness against filth-iness.
To give light to those who live in darkness and in the shadow dark as death, and to guide our feet into the way of peace. (Luke 1:79)
Misericordia (Mercy) is like the sweet?est plant, growing in the air with moisture and green. She is the power to help the truly needy. Her head is veiled in a womanly fash?ion, and to the pure protection of this veil she brings back lost souls from out of the exile of death.
Death is swallowed up in Victory! O Death, where is thy sting O grave, where is thy victory (I Corinthinians 15:55)
Victoria (Victory) shows herself to the people like lightning which is partly seen and partly concealed; for the mysteries of the Creator are sometimes understood and sometimes unknown. Victoria defeated the ancient serpent who had exalted himself over his head and bound the human race by a thousand evil deeds like a chain.
The last two Powers are grouped perhaps to represent mystery and peace:
Discretio (Discretion) is the mother of Virtues. Upon her bosom she carries some tiny stones, jewels of all kinds, which she looks at very carefully and diligently as a merchant looks over his goods. She both divides and gathers; she separates every creature into its innate quality, but holds each of them together in Nature.
Patientia (Patience) conquers with long, hard endurance worldly misery, fierce and detaining in its secular pride; she is dressed in great sweetness, wrapping her head in the manner of a wife, in fearful and loving honor. She carries a crown upon a cushion.
O Barbara Thornton, 1997
Founded in 1977,Sequentia has grown to become the internationally-acclaimed leader in its field -an ensemble that combines vocal and instrumental virtuosity with innov?ative research and programming to reconstruct the living musical traditions of medieval Europe. Under the direction of its founders, Benjamin Bagby and Barbara Thornton, Sequentia celebrates its twenty-first year as a multi-faceted ensemble whose size and composition vary with the demands of the repertoire being performed. Sequentia is based in Cologne, Germany.
Through international tours and more than twenty recordings with Deutsche Harmonia Mundi (available worldwide through BMG Classics) and major European radio networks, as well as films for television and independent film-makers, Sequentia brings to life long-forgotten repertoires from the tenth to fourteenth centuries. Sequentia performs extensively in Europe and North America, and since 1979
has undertaken numerous far-reaching tours under the auspices of the Goethe Institute, performing in South America, India and the Middle East, Japan, Korea and North Africa. During the past several years, the ensemble has become active in the Eastern European countries as well, with a long-awaited Australian debut in 1998.
Sequentia has received prizes for several recordings, including the International CD Prize Frankfurt, the Netherlands' Edison Prize, the Innsbruck Radio Prize, a Grammy nomination and both the French Disque D'Or and Diapason D'Or, and has been awarded research grants for performance pro?jects from the Siemens Foundation and the Volkswagen Foundation. In addition to their performing and recording activities, the members of the ensemble also teach medieval performance practice at special intensive courses held each year in Europe and North America.
After receiving the 1993 Deutsche Schallplattenpreis for their three-CD series of medieval Spanish music, Vox Iberica, Sequentia entered into a long-term relation?ship with BMG Classics Deutsche Harmonia Mundi. This has resulted in a project to record the complete works of the German mystic and abbess, Hildegard von Bingen (1098-1179); the third CD in this series, Canticles of Ecstasy, has already sold over 400,000 copies worldwide. Sequential most recent releases include recent additions to the Hildegard von Bingen complete works O Jerusalem (1997), the re-recording of Ordo Virtutum (1998), and the double-CD containing songs to St. Disibod, Saints (1998), as well as two CDs featuring Christmas music from twelfth-century Aquitanian cloisters, Shining Light (1996) and Aquitania (1997).
Recently, Sequentia has been immersed in a study of the Old Icelandic mythology and its performance tradition in the Middle
Ages. This project has led to a new theatrical production based on the Edda, staged by the German regisseur Franz-Josef Heumannskamper and performed in major European, North American and African festivals (and released as a CD in 1998).
Tonight's performance marks the second appearance of Sequentia under VMS auspices.
Benjamin Bagby {Co-director) received an advanced diploma in medieval music at Basel, where he and Barbara Thornton first formed Sequentia in 1977. Previous to this, he had received his vocal training in Chicago and at the Oberlin Conservatory (Ohio) where he was the first vocalist to graduate specializing in early music. He moved to Europe in 1974, after being awarded a Watson Foundation Fellowship for the study of medieval song. In addition to singing, he devotes his time to the medieval harp, the reconstruction of Anglo-Saxon oral poetry (a bardic performance of Beowulf is current project), and the Sequentia ensemble of men's voices, Sons of Thunder, a vocal ensemble for the perfor?mance of medieval liturgical polyphony and chant, which meets regularly in Cologne and Boston.
Rebecca Bain (Caritas I Amor Celestis I Scientia Dei) earned an advanced degree in Medieval Music from the Schola Cantorum Basiliensis (Basle, Switzerland), in 1996, under Dominique Vellard (voice), Randall Cooke (medieval fiddle), and others. Since moving from Canada to Europe in 1991, she has toured and recorded with several ensembles specializing in medieval music, as both a regular member and as guest soloist, including Mora Vocis (France), Sequentia (Germany), and the two ensembles which she co-founded, Zorgina (AustriaUSA) and Belladonna (Sweden.)
Pamela Dellal (Anima) Mezzo-soprano Pamela Dellal has performed under William Christie, Christopher Hogwood and Roger Norrington, and has appeared as soloist with the Handel & Haydn Society, Boston Baroque, the Boston Early Music Festival, Aston Magna, the Dallas Bach Society, the National Chamber Orchestra, and the Jacksonville Symphony Orchestra. Her operatic credits include Vanessa, Dido and Aeneas, and Die Zauberfloete. A noted recitalist, she has performed throughout the Northeast. Ms. Dellal is a founding member of Favella Lyrica, and is alto soloist in the renowned Bach Cantata series presented by Emmanuel Music. She has recorded for Arabesque Records, BMGDeutsche Harmonia Mundi, and KOCH International Classics.
Rachel Evans (Instrumentalist I Medieval Fiddle) has performed throughout the United States, Europe, and the Orient with a wide variety of ensembles including Tragicomedia, Sequentia, La Stravaganza Koln, Concordia, and the Soldier String Quartet. She has been principal violist in Continuum and the Connecticut Orchestra, and is a former member of the Colorado and Meridian string quartets. She has recorded more than a dozen chamber music CD's, including recent recordings with Sequentia and Tragicomedia, and the acclaimed Hank Jones with the Meridian String Quartet on the LRC label. Rachel Evans holds Bachelor's and Master's degrees from the Julliard School.
Elizabeth Gaver {Director of Instrumental Ensemble), who lives in Oslo, Norway, holds advanced music degrees from Stanford University (California) and the Juilliard School (New York). She continued her post?graduate musical work at the Early Music Institute of Indiana University, where she was active as a performer in both medieval and baroque repertoires. Ms. Gaver has per-
formed with many leading early music ensembles in North America and Europe, including the Waverly Consort, Concert Royal, Citimusick, Ensemble Seicento, the Santa Cruz Baroque Festival and the Mostly Mozart Festival. She has also played with ensembles specializing in the traditional music and is currently involved in an in-depth study of ancient Norwegian riddle traditions. She has concertized and recorded extensively with Sequentia since 1992.
Elizabeth Glen (Fides I Misericordia) trained at the Guildhall School of Music and Drama, London, on the undergraduate singing course, and the post-diploma course in Early Music. With "Sequentia" she has recorded Canticles of Ecstasy, Vox Iberica 3, El Sabio, Voice of the Blood, and O Jerusalem. She directs her own early music group "The Art of Courtly Love" that performs concerts of Elizabethan music and theatre in the U.K. and abroad, and she also sings a wide range of music as an oratorio and recital soloist. Opera roles include Miss Wordsworth (Albert Herring), Lucia (Rape ofLucretia), Minerva (Return of Ulysses), and Susanna (Marriage of Figaro).
Franz-Josef Heumannskamper (Devil I Stage Director) came to European-wide prominence during the 1980s with his stagings in the field of new music and music theatre, including operas and special projects with Cathy Berberian, Luciano Berio, Nam June Paik and Bernd Alois Zimmermann. He has also adapted non-theatrical texts for the stage, and his staging of the first German version of Spalding Gray's Swimming to Cambodia was subsequently seen on network television. He also has a wealth of twentieth century experimental theater. In 1992, he began a long-standing collaboration with Sequentia in the staging of medieval theatrical works, beginning with the fifteenth century Bordesholmer
Marienklage, which was filmed for West German Public Television and performed in Holland, Italy and Germany. This led to the staging of another important medieval Easter Play, the Braunschweiger Osterspiel (1993) and finally to a large-scale project called Edda I: Songs from the North, in which Sequential musical reconstruction of the medieval Icelandic Eddie Myths were trans?formed into an evening of music theatre which toured most of Scandinavia, and was also performed in France, Luxembourg, West Africa, and the USA between 1995 and 1997. It seemed only natural that this fruitful col?laboration should continue in the 900th cel?ebration of Hildegard von Bingen's birth, and so in 1998 Franz-Josef Heumannskamper again joins forces with Sequentia, bringing his eye for contemporary music theater and his deep experience with medieval stagecraft to the recreation of Germany's oldest music drama, Ordo Virtutum.
Maria Jonas (Hutnilitas) began her musical career as an oboe student at the Musikhochschule Koln before beginning a new career as a singer studying with Montserrat Figueras and Rene Jacobs at the Schola Cantorum in Basel, and with Jessica Cash in London. She has worked and record?ed with Sequentia, Jordi Savall, Alte Musik Dresden, La Sfera Armoniosa, the European Baroque Orchestra and the Hilliard Ensemble. In recent years Maria has concentrated her time in opera and contemporary music appearing in opera houses throughout Europe. Recently she toured in Mozart's Magic Flute with John Elliot Gardner (which she was later recorded for Deutsche Grammophone) and the Philip GlassRobert Wilson produc?tion of the White Raven in Cuba, Lisbon. Her work with the German choreographer Reinhild Hoffman inspired her to form the group Condanze which includes the element of dance in projects challenging musicians to
rethink and recreate interpretations of early music.
Anna Levenstein {Innocentia) Soprano Anna Levenstein, raised in Israel, began her musical studies at the Rubin Academy of Music high school. She graduated from the Mannes College of Music where she studied voice with Atonia Lavanne and double bass with Homer Mensch. She received an MA in early music performance practice from Case Western Reserve University where she studied with Jullianne Baird and Janet Youngdahl. She is a soloist with Ciaramella, an ensemble specializing in late medieval music, and has sung with the ensemble Accademia Testudine under the direction of Pat O'Brien. She has performed the role of Eurilla in Handel's Pastor Fido and has appeared in a staged production of Carmina Burana.
Robert Mealy (Instrumentalist Medieval Fiddle) enjoys a busy career performing on a wide variety of historical strings. He has played medieval fiddle and harp with Sequentia, Ensemble Project Ars Nova, the Boston Camerata, and Fortune's Wheel, a new ensemble he co-founded. He is also a member of the King's Noyse, a Renaissance violin ensemble which records regularly for harmonia mundi usa, and the concertmaster of the Boston Camerata, with whom he has recorded everything from the Carmina Burana to Kurt Weill. As a Baroque violinist, he has frequently performed with the Paris-based ensemble Les Arts Florissants, Canada's Tafelmusik, and the Handel & Haydn Society of Boston, among many others. Mr. Mealy is a non-resident tutor of music at Harvard College, where he directs the undergraduate baroque orchestra.
Marianne G. Nielsen (Victoria) began her singing career with various Danish chamber choirs and made her first professional appearances as a member of the Danish
early music ensemble Capella hafniensis. She graduated in voice from the Royal Danish Conservatory of Music in Copenhagen and has also studied Italian and French baroque inter-practation with Jill Feldman and Jessica Cash. Her solo repertoire includes early music masterworks such as Charpentier's Lecons de Timbres, Bach's St. John Passion, Handel's Messiah, and Pergolesi's Stabat Mater. Among her opera and oratorio roles are Aricie in Ramcau's Hippolyte and Aricie, Cleopatra in Handel's Giulio Cesare, Iole in Handel's Hercules, and Dorinda in Handel's Orlando. Marianne G. Nielsen has recorded the Kronborg Motets with Capella Hafhiensis for the Danish Kontrapunkt label and music from the reign of King Christian III with Musica Ficta for dacapoMarco Polo. She has toured as a soloist in Germany, Sweden, Italy, Belgium, France, England, and the United States, and has appeared in radio and television broadcasts in Denmark, Germany and France.
Caitriona O'Leary (Castitas) Irish singer Caitriona O'Leary has been making music since early childhood. Having studied at the College of Music, Dublin, Trinity College Dublin, and the Conservatory of Music, Brooklyn College, she now specializes in early, contemporary and Irish music. Caitriona has performed as soloist through?out Europe and North America and cur?rently works with Sequentia and The Harp Consort. Her recording credits include Shining Light, Aquitania, and Symphony of Saints with Sequentia (BMG); Carolan's Harp, The Play of Daniel, and La Ptirpura de la Rosa with The Harp Concort (BMG). Caitriona's solo album of Irish song, I am stretched on your grave, will be released soon.
Moritz von Rappard {Lighting Designer), who lives and works in Berlin, is a graduate
of the dramatic research program at the University of Cologne, where he participated in advance studies not only in light design, but also in dramturgy, stage direction and set design. He has participated in many European productions and numerous experimental theater pieces in international festivals from Scandinavia to West Africa. In addition to his work in theater, Mr. von Rappard has also been involved in the con?ceptualization and realization of installations and environments relating to theatrical spaces. His collaboration with the direction Franz-Joseph Heumannskamper dates to 1987 and this is the second Sequentia pro?duction for which he has designed the lighting.
Norbert Rodenkirchen (Instrumentalist Medieval Flute) Norbert Rodenkirchen was born in Koeln, where he studied flute at the Hochschule fuer Musik with Hans Martin Mueller and later Baroque flute with Guenther Hoeller. Since completing his studies, he has been in demand as a versatile performer and composer in the realms of new music, early music, theater and film-music. He is especially interested in the shared characteristics of much contempo?rary experimental music with music from the Middle Ages, and organized a music fes?tival in 1992 to address this very concept. It was here that he first came into active contact with Sequentia. Norbert Rodenkirchen has composed theater music for the Stadttheater Aachen, for the Staatstheater Darmstadt, and has composed works for the Jubilaeumsensemble Bonn and the WDR Television in Koeln. As a flautist he has appeared widely in various European festivals, and has participated in numerous record?ings for CD, radio and television.
Diane Severson {Spes I Verecundia I Patientia) received her training at the University of Wisconsin-Madison, USA and further specialized training at the Academy
of Early Music Bremen, Germany, graduat?ing in 1996. She attended master-classes with Cornelius Reid, Emma Kirkby, Evelyn Tubb, Christoph Pregardien and Suzie LeBlanc. She performs regularly in Germany with the ensembles "Apollo's Banquet" and "Consort Franckfort" and as a concert soloist. A special interest of hers is baroque opera, in which she has already performed the roles under the direction of Jack Edwards (Opera Restor'd, London; Stephen Stubbs; Sharon Weller and others) of Belinda in Purcell's Dido and Aeneas, Euridice in Rossi's L'Orfeo, La Musica and Proserpina in Monteverdi's Orfeo, Amore in Monteverdi's L'Incoronazione di Poppea, and Mahelath in G.C. Schiirmann's Solomon.
Allegra Silbiger {Disciplina Obedientia) Born in New York City, Allegra Silbiger earned her B.A. from Brown University. She studied early vocal ensemble music at Brabants Conservatorium in the Netherlands, and vocal technique with Jill Feldman and Jessica Cash. She studied medieval music performance with Barbara Thornton, and attended masterclasses with Pedro Memelsdorf, Marcel Peres, and others. She has performed in Europe, the US, and the Middle East, and directs a women's medieval music ensemble.
Barbara Thornton (Director) studied voice in New York City and Amsterdam, followed by operatic training in Zurich and Italy. Her special interests took her to Basel, where she received an advanced diploma in the perfor?mance practice of medieval music from the Schola Cantorum Basilienses in 1977. Since 1974, she has worked together with Benjamin Bagby. In addition to her per?forming and articles on the music of the German abbess and mystic Hildegard von Bingen (1098-1179), published as part of a long-term project which began in 1981 with the staging, recording and filming of
Hildegard's music-drama Ordo Virtutwn. The culmination of this project will be a series of CDs containing Hildegard's com?plete works, scheduled for completion in time for the saint's 900th birthday in 1998.
Thomas Venable (Costume Designer) has worked over the years as an international designer of Pret-A-Porter and couture, designing for various international fashion houses in Paris, New York, and Tokyo, such as Christian Dior, Givency, and Ann Klein New York. After many years of working and living abroad from Europe to Japan, he returned to live in Berlin in 1995, where he started a career designing costumes for the?atre, musical productions, and prominent international entertainers. After many years of working on international fashion collec?tions, he was introduced to Franz-Josef Heumannskaemper in 1997 and was asked to design costumes for Sequentia's recre?ation of Germany's oldest music drama, Ordo Virtutum.
Janet Youngdahl (Contemptus mundi I Discretio I Timor Dei), soprano, appears fre?quently in chamber music concerts, oratorio and opera. She has enjoyed singing and recording with Sequentia since 1992. Ms. Youngdahl holds degrees from The University of Michigan and the College of Wooster and is a doctoral candidate at Case Western Reserve University. She has per?formed with the Newberry Consort, with Paul Hillier, with Christopher Hogwood, and with Julianne Baird. She has been on the voice faculty of SUNY Fredonia and Case Western Reserve University. Her Baroque ensemble Cecilia's Circle recently completed a tour in the western U.S.A. Her opera credits include Dido and Aeneas, Coronation ofPoppea, Orfeo and Acis and Galatea. Ms. Youngdahl resides in Calgary, Alberta Canada and recently gave birth to her first child Daniel Shafa Mazidi.
A Huey P. Newton Story
Created and performed by: Roger Guenveur Smith Live Sound Design: Marc Anthony Thompson
Scenic and Lighting Design: David Welle A Steven Adams Production
Wednesday Evening, November 18,1998 at 8:00 Thursday Evening, November 19,1998 at 8:00 Friday Evening, November 20,1998 at 8:00 Saturday Evening, November 21,1998 at 8:00
Trueblood Theatre, Ann Arbor, Michigan
A Huey P. Newton Story
'Writings of Huey P. Newton O The Dr. Huey P. Newton Foundation
Following the performance, there will be a short question and answer session with the artist led from the stage.
Twenty-first, Twenty-second, Twenty-third and Twenty-fourth Performances of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided in part by media partner, WEMU.
Special thanks to Roger Guenveur Smith, Ahmed Rahman, OyamO, the Center for Afroamerican and African Studies, and the Charles H. Wright Museum of African American History in Detroit for their assistance with this residency.
Special thanks to the African American Cultural and Historical Museum of Ann Arbor for their continued support of UMS programming initiatives.
The world premiere of A Huey P. Newton Story was presented by the Magic and the Oakland Ensemble Theatres in association with Steven Adams. The New York premiere was presented by the Joseph Papp Public Theater New York Shakespeare Festival.
Off-Broadway, A Huey P. Newton Story garnered Obie Awards for Mr. Smith and Mr. Thompson, as well as two Drama Desk nominations; The Helen Hayes Award for Mr. Smith, two Audelco Awards and three NAACP Awards, including "Production of the Year."
Large print programs are available upon request.
Interview ol Roger
conducted by Coco Fusco as published in Bomb: Summer 1997, No. 60.
Coco Fusco: Why did you want to create a play about Huey P. Newton Roger Guenveur Smith: Like most Americans, I only knew Huey as that man on the poster or as those news blurbs in the eighties: "Huey arrested in bar brawl." "Huey gets Ph.D." "Huey indicted for embezzling school funds." "Huey murdered in front of crack house." I wanted to know who he was. CF: Did you have any childhood memories of him
RGS: Sure, I had childhood memories of Huey. But, I didn't really know who Huey was. I don't think many people knew who Huey was. Very few people knew that he spoke in a high toned voice, in a Louisiana drawl. That he was shy. That he wasn't a great public speaker. That he was short, and unlike his peers, didn't have a very dynamic public personality.
CF: Was it his death that sparked your interest in doing the piece or did you want to explore this kind of a character Did you want to assess a political moment RGS: When Huey died I was in the process of putting another piece together, Frederick Douglass Now. In an unconscious homage to Huey, I dressed Douglass in a black leather jacket. Frederick Douglass does this great speech, "Men of Color to Arms," which was a recruitment speech for black soldiers dur?ing the Civil War. I used a projected image of Huey as an illustration of men of color to arms. So, in a sense, Huey had been working on me for awhile.
CF: And why Huey and not any other Panther RGS: I had a historical, psychological curiosity about this man, and I had the additional compelling element that people had told me throughout the years that I bore a certain resemblance to him... I never did hear Huey speak in person. I never met
him. And I think that if I had I would cer?tainly have been more intimidated about doing the piece than I have been. CF: Your version of Huey spends a good deal of time berating his audience. Do you think his original audiences, or current ones, want that This comes up often with co-called multi-cultural performance work. Sometimes we're told we shouldn't go too far or we risk alienating the audience. On the other hand, your version of Huey seems to be playing with a real desire for a certain barrier to be established, an attraction to a certain kind of aggression. RGS: Traditionally, artists and audiences have looked at theater as a sanctuary, as a safe place, a comfortable place. But I believe that theater is the place where we do the undoable and where we say the unsayable. Theater is where we commit murder. CF: So you don't see it as an ethnically spe?cific issue, as a culturally specific issue I do think that there are ways in which black performers, for example, are criticized more often than whites for supposedly being too confrontational.
RGS: There are points in the play when Huey's going to jump off the platform and go off on somebody and knock him up side the head. And then he says, "Oh no, I didn't come to berate you, I just... Look, let me share somethin' with you. When I was I kid I couldn't dance...," which throws them again, off-kilter. That was Huey's personality and that's what the piece is: there's a constant tension among the various aspects of Huey's character.
CF: So when you put together the script, did you think about how and where to shift from a more aggressive to a more seductive Huey RGS: Look, let me say this: There is no
"Traditionally, artists and audiences have looked at theater as a sanctuary, as a safe place, a comfortable place. But I believe that theater is the place where we do the undoable and where we say the unsayable. Theater is where we commit murder."
script. I never wrote this play. I absorbed it from a comprehensive study of Huey's work and interviews with him. It took form through the encouragement of sound designer Marc Anthony Thompson who said, "Sit down. Tell me the story." Two hours went by and we had a "play." CF: Did you record that interaction between the two of you RGS: No. CF: You just talked.
RGS: I just talked to Marc Anthony, as Huey. The character emerged -Huey emerged. I did not sit down and write a play. 1 wanted my absorption of this material to be absolutely organic. Because once something has been committed to the page, we as performers start playing the page. And that's not real. CF: So every time you come out on stage, you do a different piece RGS: Yes. The piece is framed absolutely differently every time. It's a song cycle. We play the same songs every night, but we play them differently. Dizzy Gillespie never played "Salt Peanuts" the same way. Charlie Parker never played "Cocomo" the same way. Lester Young never played "Lester Leaps In" the same way.
CF: How do you work it with Marc Do you agree on a general structure that you're going to fall into, or repeat RGS: We have a series of songs. There's "The Geek Road." There's "The Revolution Song." There's "The Orfeo Negro Song." CF: How do you keep tract of time RGS: It's an internal clock, an internal metronome. Louis Armstrong never had somebody with a clock next to him. CF: Yes, but there are jazz scores.
RGS: There are jazz scores, yes, of course there are jazz scores, but there was also a time in jazz where they had to hit tunes in a certain amount of time because there's only so much you could fit on wax. Okay, so internal metronome, you know, Robert Farris Thompson talks about it. CF: Can you tell me about performing for Huey's family
RGS: It was a great challenge, a great honor, and I felt very blessed to be with his widow and brother and sister. His sister ran into me in the elevator before the show and was shocked because of the resemblance. And she told me after the show that when?ever anything came on the radio or T.V. about Huey, she would always turn it off. She just didn't want to deal with his image, post-mortem. And my show was the first thing about Huey that she had come to. Extraordinary experience. I mean, I sit up there talking about her. In the play I say, "My sister Red, you call her Red, that get her upset, she start cryin' through her freckles." She told me, "You know, that was me. I was Red." And I say in the play, "My brother Melvin, who taught me the Shakespeare." Well Melvin was there. It's church, you see. It's church. And that's what people don't understand about a performer like Keith Antar Mason. Keith's conducting a sacred service. Keith ain't performing. He's not entertaining. He is preaching. He's invoking the has. And you're not going to understand that unless you grew up in that tradition, or you listen to the far end of the AM dial. (laughter) You know what I'm sayin' CF: I guess so. RGS: Oh, the preacher's gonna go off on
you. He's gonna go off. He's gonna take you to hell and back.
CF: Is that your model Are you thinking about that sort of cadence when you're onstage RGS: I'm not thinkin' about nothin' but communicating in the moment. But that's the tradition that I'm working in. Huey's father was from the church. And sometimes Huey would say when he'd been talking for a long time, "Oh, you got me preachin' my old man's sermons." CF: How do you direct yourself RGS: When I was a kid, just like Huey, I lis?tened to records over and over and over again and memorized stuff. And I drove people crazy. When I was a kid I had a pic?ture of al the US presidents on my wall and I had them all memorized. The vice presi?dents, as well. And I drove people crazy with that. That's the tradition of performance that I come out of. I used to deejay. I used to rap. That, to me, was just another perfor?mance opportunity. To get out there and grab the mike and sweat on any given night. CF: But nobody's calling this a performance
art piece, they calling it a theater piece. Does that make a difference to you RGS: Is there a difference What is it CF: I know what I think. But what is it for you RGS: You could call it any number of things. You could call it entertainment. You could call it church. You could call it performance. You could call it theater. You can call it a political rally. It's all of those things. Why must we compartmentalize Why must we put an experience into a box See, this too is what the play is about, because, as Huey says, "People want to put me in the box. And I realize that I'll never get out of that box."
CF: There is a discussion in theater about what it means to work off a set of script ver?sus an unset script.
RGS: You're talking about theater from an American-Anglo tradition in which the script is written and perhaps a dramaturg is brought in, and then the director, and you have the company and a designer... Look, I could go out here on the corner right now and do a play. There's a brother around the corner right now, he does theater every night. He was out there last night with a lamp. He said, "Ronald Reagan said, 'All quiet on the set.'" That's theater. A man pulled out a violin on the subway this morning. That's theater. CF: Much of what you're talking about is theorized as "the performative" and "the moment." How do you incorporate the moment and the presence of yourself, and this other person who you're inhabiting in that moment
RGS: There's always the question of arti?fice, of creating a persona and then strip?ping that persona away. This is what we do
when we acknowledge the present moment. We don't try to pretend that we're in 1967 because everyone knows that we're in 1997. That's the tension.
CF: So how does a technician follow you if you're constantly improvising RGS: Wait a minute, the piece is a collabo?rative process between Marc Anthony and myself. Marc's not just a hired gun technician. CF: I know that. He is working off the ener?gy that he gets from you in performance. How can one know from watching, that you are, to a certain extent, improvising off of a set structure and that the person who's
"We come to the theater, we come to the church, to be consumed in tragedy. It's Holy Week. People are going to church to relieve a tragedy."
interacting with you is also working off of your energy It could very well been a track... RGS: Could have been. CF:... with a guy who is reading off a script. RGS: Might've been. You'll only know if you come back again. Sometimes people think that the audience responses are from plants I've placed in the audience. CF: Let's go to the issue of black masculinity. RGS: I don't know anything about it. CF: But you're putting it up there. It's being dramatically stripped bare in a very emotion?ally revealing way.
RGS: Look, Coco, the play is about Huey, it's not about the black man. It's not about black masculinity.
CF: It is always going to be viewed in light of that larger issue because Huey Newton's not just anybody, Roger. And the pose, the physical and psychological demeanor of the Black Panthers constituted an image. And that image represents a critical moment for understanding how black men are viewed in this society, and for that matter what "Black Power" signifies thirty years after its heyday. RGS: This is exactly why I choose to focus Huey on Huey. Huey in his own words. Huey looking into his mirror, cracked as it might be, in order to give a view of a man who, yes, is a black man who is in struggle with society, but yes, is also in a struggle with himself. And whatever the audience can draw from that is going to, I'm sure be commensurate with what they bring, what they take away. I never, ever, would be so presumptuous or even ambitious enough to say that this play is somehow going to repre?sent or speak to issues of "black masculinity." CF: But what if I said that it does. RGS: Then that's your perspective. That's what you bring and that's what you take away. And that's wonderful. But I have to ' keep my focus on Huey P. Newton 1942-1989. CF: I understand that you need to keep that focus when you're performing, but right now you're not. So you can kick back and
you could think about it.
RGS: But see, I don't indulge in it. I don't
engage in it. I don't, because not only am I
trained in the theater, I'm also trained as a
historian. I'm very cognizant of what needs
to be footnoted and what doesn't. So when
we talk about the play, or Huey representing
something, I constantly go back to what
Huey has to say. What does he have to say
about black masculinity
CF: Okay, what does he have to say
RGS: I don't know. What did he say Do
you remember
CF: There are moments when your Huey
teases the audience about the presumed fear
of him as a black male.
RGS: I can't see anybody in the audience,
CF: So are you talking to somebody you
see, or to somebody you presume is there
RGS: Well, that's the question. Do these
people really exist, or are they just demons
in Huey's head
CF: If they are, then how he defines himself
as a person, as a man, as a black man, has to
do with who he thinks that other person is.
RGS: Sure, and who he thinks he is. Or, is not.
CF: So is it all psychological
RGS: Of course it's not all psychological.
It's fucking visceral. I have the bruise on my
back to prove it.
CF: What Huey is or was goes beyond the
physical and the psychological. He is somebody
who was involved in politics. He is somebody
who was involved in black politics. In a kind
of identity politics, and what you're doing
with the character is going back and forth
between a very personal, internalsubjective
side and a very public side. That's a way of
approaching the representation of...
RGS: Anyone! Anyone!
CF: If this were twenty-five years ago, I
doubt that putting the more abject elements
of his persona on display as you do would
have been accepted.
RGS: It's not twenty-five years ago. We're
not talking about William Styron and Nat Turner. We're talking about Roger Guenveur Smith, playing Huey P. Newton. There are obviously things Huey has to say about back male identity throughout the piece. And, the fact that I'm doing it is interesting. A brother came up to me in San Francisco, I had on a Frederick Douglass t-shirt. He stepped back and said, "Damn, you're the one, yeah. I saw the ad for your play on T.V. and said to myself, 'What are they doing having a white boy playing Frederick Douglass'" So Coco, when we talk about images of black, mas?culinity, whatever, I get it from both sides. CF: Let me put it another way. It seems to me that your view of Huey as tragically flawed, so to speak, fits into the larger cultural debate going on among members of our generation about the construction of gender. You repre?sentation of Huey as vulnerable, complicated, even disturbed would simply not square with the cultural nationalist mandate of let's say twenty-five years ago. But you're putting it out there.
RGS: Of course, that's a given because that's what we live with everyday, and, of course, it flavors the performance. But, that's part of the natural milieu, that's what I bring into the theater. If I walk down the street and see the Daily News, do you think that's going to flavor what I do in the theater Fuck yeah, it's going to flavor it! the mad bomber of harlem, black man. Do you think that's going to flavor what I do Of course, and it flavors the perspective of the audience who comes to see what I do. That's a given. CF: Okay, so what do you think of the fact that this very comfortable audience is com?ing and consuming that human tragedy ? RGS: We come to the theater, we come to the church, to be consumed in tragedy. It's Holy Week. People are going to church to relieve a tragedy.
Coco Fusco is a New York based writer and inter?disciplinary artist. She is the author oEnglish Is Broken Here: Notes on Cultural Fusion in the Americas (The New Press, 1995).
For the national stage, Roger Guenveur Smith has created and performed Frederick Douglass Now, Christopher Columbus 1992, and, with Mark Broyard, the award-winning Inside the Creole Mafia, His work has been presented at The New York Shakespeare Festival, The Mark Taper Forum, and The Actors' Theatre of Louisville. He has also played seasons with the Guthrie Theatre and Mabou Mines. He recently directed the nationally-acclaimed Radio Mambo: Culture Clash Invades Miami. Mr. Smith's many screen credits include Spike Lee's He Got Game, Get on the Bus, Do the Right Thing, Malcolm X and School Daze. He is recently completed shooting Mr. Lee's newest film currently titled The Summer of Sam. Mr. Smith has also been featured in Deep Cover, Panther, Tales from the Hood, Poetic Justice, King of New York, and Eve's Bayou. Television viewers know Roger from recent episodes of Oz, New York Undercover, and All My Children; he will star opposite Lynn Whitfield in the upcoming The Color of Courage.
A Huey P. Newton Story marks the debut performances of Roger Guenveur Smith under UMS auspices.
Marc Anthony Thompson (composer, vocal?ist, multi-instrumentalist) has recorded two albums for Warner Brothers records -an eponymous debut and a follow-up entitled Watts and Paris. Marc has recently released an album for V2 Records (Richard Branson's new record label) under the project name Marc Anthony's Chocolate Genius. The record features Marc's distinctive original songwriting and includes backing musicians John Medeski and Chris Wood (of the renowned jazzrock trio Medeski, Martin & Wood).
Aside from his solo ventures, Marc has collaborated with a wide range of artists including legendary jazz drummer Tony Williams, avant-garde guitarist Marc Ribot, and West Coast chanteuse Ricki Lee Jones. Marc has scored home movies for Malcolm Forbes, written songs for Abel Ferrara and composed the title music for the PBS series, The Independents. He is also scoring an upcoming film entitled Spark.
A Huey P. Newton Story is Marc Anthony's second collaboration with Roger Guenveur Smith, their first collaboration being Christopher Columbus 1992. Both pieces were born and raised in Marc Anthony's Low Blood Sound Lab, a state-of-the-art recording facility located in the Lower East Side of Manhattan.
David Welle (Scenic and Lighting Design) began his career at the Magic Theatre, where he designed lighting for John Lion's produc?tion of Moon for the Misbegotten, Stan Gontarski's production of Endgame, and Murray Mednick's outdoor dusk-to-dawn epic, Coyote Cycle, amongst others. He subsequently designed for SOON 3, includ?ing the Russian production of Double Play, and the Sumerian opera, Ace Taboo. Mr. Welle has toured with, among others, the Margaret Jenkins Dance Company, ODC of San Francisco, A Traveling Jewish Theater, Kronos Quartet, Junebug Theater, Roadside
Theater and the National Ballet of Caracas. He has worked in Russia, Europe, Canada and Asia. His most recent designs include Asylum, for which he received an L.A. Dramalogue award, the world premiere of Pieces of the Quilt in San Francisco, directed by R.A. White, and the NY premiere of A Huey P. Newton Story at the Public Theater. Mr. Welle is a member of The Actors' Gang and currently resides in California.
In 1995 Steve Adams (Producer) presented the world premiere of A Huey P. Newton Story in association with Magic and the Oakland Ensemble Theatres. Adams served as Artistic Director of The Fountainhead Theatre Company. His directing credits include the world premiere of Toni Ann Johnson's, Gramercy Park is Closed to the Public topics of Our Times-the American Dream and Susan Miller's It's Our Town Too. His producing credits with The Fountainhead Theatre include Cock and Bull Story, which received two LA Drama Critics Circle Awards; Charlayne Woodard's Pretty Fire, also recog?nized by the LADCC and the NAACP: Inside the Creole Mafia, which won an LA Weekly Theatre Award and five NAACP Theatre Award nominations; and Culture Clash-Unplugged, the hit stage show which was syndicated by KTTVFox television. In 1996 he produced the Bessie Award Winning pro?duction, Radio Mambo with INTAR. Adams serves as associate producer on the feature Gotten Gains and The Confession and is currently developing several film projects.
Worldwide Tour Management for A Huey P. Newton Story. International Production Associates, Inc. NYC Jedediah Wheeler, PresidentProducer
David Bradford, Production Manager Jill Dombrowski, Associate Producer Alisa E. Regas, Associate Producer Alyce Dissette, Director, Top Shows Inc.
Emerson String Quartet with Menahem Pressler Piano
Philip Setzer, Violin (1st in Mozart)
Eugene Drucker, Violin (1st in Shostakovich and Brahms)
Lawrence Dutton, Viola
David Finckel, Cello
Bank of Ann Arbor
Wolfgang Amadeus Mozart
Dmitri Shostakovich
Johannes Brahms
Sunday Afternoon, November 22, 1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quartet in D Major, K. 575
Menuetto: Allegretto
Quartet No. 2 in A Major, Op. 68
Overture: Moderato con moto
Recitative and Romance: Adagio
Waltz: Allegro
Theme and Variations: Adagio-Moderato con moto
Quintet in f minor for Piano and Strings, Op. 34
Allegro non troppo Andante un poco adagio Scherzo: Allegro Finale: Poco sostenuto
Following the performance, there will be a short question and answer session with the artists led from the stage.
Twenty-fifth Performance of the 120lh Season
36"1 Annual Chamber Arts Series
Special thanks to Bill Broucek for his generous support through Bank of Ann Arbor.
Special thanks to Ellwood Derr for serving as this evening's Pre-performance Educational Presentation (PREP) speaker.
Menahem Pressler appears by arrangement with Melvin Kaplan, Inc.
The Emerson String Quartet appears by arrangement with IMG Artists and records exclusively for Deutsche Grammophon.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Large print programs are available upon request.
String Quartet in D Major, K. 575
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
Nowhere is it more clear that Mozart was able to separate his troubled physical and emotional condition from the spiritual and musical side of his life than in the melodic, optimistic D Major quartet. Even though Mozart was suffering from the greatest adversity at the time, the work achieves a rare buoyancy of spirit. In one regard, though, it was written at the urging of King Frederick of Prussia, who was an excellent cellist, the cello plays an important role throughout. Then, to balance the prominent cello, Mozart wrote parts of greater conse?quence for the two inner voices, the second violin and the viola.
The principal theme of the first move?ment is essentially a rising arpeggio and a descending scale. Stated by the first violin, it is repeated by the viola, and its extension features both the first violin and cello. The second theme, arising arpeggio followed by a long held note, is introduced by the cello, but with turns for all four players. Either by calculation, or because the rising arpeggion is so common a figure, both first movement themes and the main theme of the finale, too share the same intervals, although in completely different rhythms. The develop?ment and recapitulation are conventional, and continue the movemnet's buoyant good spirits through to the very end.
The second movement is in ternary form, A-B-A. The contrast between the two sections comes from the melodic contour of A, and earthbound line, and B, a soaring phrase that passes from instrument to instrument. It is also heard in the difference between the thick texture of A, with the vio?lins doubled, and B, which is a single melodic line, well-distanced form the repeated-note accompaniment. In the very
short coda, the first violin has a rapid, rising run that the second violin answers with a long note and four-note turn; the cello and first violin echo this exchange to conclude the movement.
The sprightly "Menuetto" starts with the four-note turn that came at the finish of the "Andante". Perking along in one-beat-to-a-bar pulse, the music glitters with sharp contrasts soft and loud, staccato and lega?to. The trio is a showcase for the cello, which sings out the cantabile melodies (with that same four-note turn), very high in its range. The Menuetto is repeated after the trio.
The cello introduces the main theme of the serenely happy last movement: it starts with the same rising arpeggio as the themes of the first movement. The contrasting interludes of the movement's rondo form spring from the ascending arpeggios as well, but in different keys, settings, and scorings, so that they truly sound like new material. Tightly organized and highly contrapuntal, this movement is probably the most inter?esting one of the entire quartet.
The premiere of K. 575 was given at Mozart's lodgings in Vienna on May 22, 1790, very likely with the composer playing viola.
Program note by Melvin Berger.
Quartet No. 2 in A Major, Op. 68
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
By the time he returned to the medium six years after completion of his String Quartet No. 1, Shostakovich had penned three more symphonies, including the legendary Symphony No. 7 (Leningrad, 1941) and the tragic Symphony No. 8 (1943). In the inter?im he did not abandon chamber music; an
accomplished pianist, he wrote himself into his Piano Quintet (1940), a work that scored immediate and lasting success. He also pro?duced another durable masterwork, the Piano Trio No. 2 in e minor, dedicated to the memory of his cherished friend, Ivan Sollertinsky. Immediately on completion of the Trio in late summer 1944, the composer started to work on his String Quartet No. 2, which he dedicated to composer Vissarion Shebalin in commemoration of the twenti?eth anniversary of their friendship. The Piano Trio and the String Quartet No. 2 were unveiled together in Leningrad on November 14, 1944.
Shostakovich's String Quartet No. 2 is more ambitious and substantial than its pre?decessor in scale, in emotional range, and in texture. Each of its four movements carries a descriptive title. The designation of "Overture" may be a bit misleading for an opening movement in reasonably orthodox first-movement sonata form, complete with repeated exposition. The movement is based on two themes, the first a robust, modal tune over a rustic drone (transfigured at the beginning of the development section into a lilting waltz) and the second a refluent, chromatic line with the weak-beat accentua?tion of a mazurka.
The first violin solo in the opening sec?tion of the second movement "Recitative and Romance" divulges against sustained chordal harmonies intense private anguish in an almost human voice. (It foreshadows the poignant bassoon recitative in Shostakovich's next symphony, Symphony No. 9, composed the following year.) The "Romance" suggests release through a wist?ful waltz, but it gradually yields to mount?ing anxiety and a return to the "Recitative."
The third movement "Waltz" is in the minor mode and is played in its entirety with mutes, aspects which contribute to the eerie atmosphere. A brief slow introduction, a pointed dialogue between the lower
strings and the first violin, anticipates the appearance of the main theme of the final movement.
"Theme and Variations", in a minor, expands an idea from the Piano Trio: a four-teen-measure melody of characteristic lyri?cal expansiveness. It is presented first by unaccompanied viola, then traded among the instruments in a series of progressive variations that arch through textures dense with dramatic tension back to Schubertian calm and lucidity. The tempo gradually broadens and the movement concludes with a reprise of the introductory material.
Program note by Laurel E. Fay.
Piano Quintet in f minor. Op. 34
Johannes Brahms
Born May 7, 1833 in Hamburg
Died April 3, 1897 in Vienna
One evening Brahms was asked how he had spent the day. "I was working on my sym?phony," the composer replied. "In the morn?ing I added an eighth note. In the afternoon I took it out."
Spurious as this anecdote may be, it does furnish some insight into the slow, careful way Brahms fashioned his music and the difficulty he had in bringing certain works up to his incredibly high standards. The Piano Quintet is a particularly good illustration of a composition that underwent several major revisions before publication.
The original version was a string quintet for two violins, viola, and two cellos, which Brahms composed in 1862. Joseph Joachim, the composer's close friend and trusted musical advisor, liked the piece at first, but after rehearsing it, told Brahms that he though it lacked charm and that the composer should "mitigate the harshness of some passages." A slightly altered work was played at another rehearsal, but it too proved unsatisfactory.
The following year, Brahms entirely transformed the piece into a sonata for two pianos, which he performed with Karl Tausig in Vienna early in 1864. (Although Brahms burned the original cello quintet version, he preserved the two-piano realiza?tion, which is published as Op. 34b.) Critics gave it a generally poor reception saying it lacked the necessary warmth and beauty that only string instruments could provide.
Finally, during the summer of 1864, Brahms reworked the same musical material once more, this time shaping it into its final piano quintet form. Brahms, at long last, was satisfied. He allowed it to be published in 1865. It is now considered the composer's most epic piece of chamber music.
The massive and complex first move?ment is replete with a superabundance of melodic strains and rhythms. Yet, despite this rich diversity, Brahms achieves a musi?cal synthesis through the use of various uni?fying techniques that are skillfully woven into the music. To take but one example, the movement opens with piano, first violin, and cello singing the noble, sonorous first theme. After a pause, the piano begins a pas?sage of running notes that seems unrelated to the opening statement. Careful listening, though, reveals that the passage is nothing more than a free, speeded-up transposition of the melody we have just heard! Brahms' delight in counterpoising twos against threes is evident in the subdued second subject, with its ostinato triplets underpinning the equal pairs of notes in the melody. A closing theme that contrasts sustained, legato mea?sures with staccato, rhythmic measures leads to a comparatively brief development, a recapitulation, and a coda that starts slowly and quietly but builds to a brilliant climax.
The slow movement is serene, tender, and simple especially in comparison with the majestic sweep of what has come before.
The opening subject, a warm, gently swaying melody, is played by the piano to a restrained, rhythmical string accompaniment. The intensity increases as the second violin and viola, in unison, introduce the subsidiary subject. Clam returns as the main theme returns to close the movement.
The "Scherzo" has great rhythmic verve and a plenitude of melodic material. There are three basic musical ideas: an eerie, slightly off-beat melody over an insistent cello pizzicato; a crisply rhythmic figure in the strings; and an exultant, full-voiced exclamatory statement from all five players. After expanding and developing these themes, the music builds powerfully to a sudden cut-off, which is followed by the contrasting cantabile melody of the Trio. Brahms then directs the players to repeat the Scherzo section.
The "Finale" opens with a slow intro?duction that casts a mood of dark forebod?ing. In a while the shadows disperse as the cello saunters forth with a fast, jolly tune. After a dramatic outburst, a second melody appears, slightly faster in tempo, but droop?ing with feigned sorrow. A vigorous, synco?pated them brings the exposition to an end. The freely realized development and recapit?ulation lead to the coda, a summing up of the entire movement in an unrestrained whirlwind of orchestral sonority.
The first public performance of the quintet was given in Paris on March 24, 1868, by pianist Louise Langhans-Japha and four unidentified string players.
Program note by Melvin Berger.
Menahem Pressler was born in Magdeburg, Germany, and received most of his early musi?cal training in Israel. His inter?national concert career began when he won first prize in the Debussy Piano Competition in San Francisco in 1946, followed soon after by his North American concerto debut with the Philadelphia Orchestra under the baton of Eugene Ormandy.
Mr. Pressler subsequently appeared with many of the world's leading orchestras, among them the New York Philharmonic, the National Symphony, the Cleveland Orchestra, the Chicago Symphony, the Pittsburg Symphony, the Royal Philharmonic, the Orchestre de Paris, and the Orchestre National de Belgique. He has recently per?formed and recorded the Beethoven Choral Fantasy with the Leipzig Gewandhaus Orchestra under the baton of Kurt Masur.
In 1955, Mr. Pressler co-found?ed the Beaux Arts Trio, which has become one of the world's most enduring and widely acclaimed chamber music ensembles. The Beaux Arts recordings for Philips have won many coveted honors and awards, and
include almost all of the piano trio literature.
Mr. Pressler also appears frequently in recital, including recent concerts on Carnegie Hall's Great Performers series, at Jordan Hall in Boston, at the Ravinia Festival, and in Toronto, St. Louis and Los Angeles. He is a frequent guest artist with chamber ensem?bles, including the Juilliard, Emerson, Tokyo,
and Guarneri String Quartets. In 1994, Mr. Pressler was honored with Chamber Music America's Distinguished Service Award. Since 1955, he has been on the piano faculty of Indiana University, where he holds the posi?tion of Distinguished Professor of Music.
This performance marks Menahem Pressler's ninth appearance under UMS auspices including eight previous appearances with the Beaux Arts Trio.
Acclaimed for its artistry and dynamic performance style, the Emerson String Quartet has amassed an impressive list of achievements: an exclusive Deutsche Grammophon recording contract, four Grammy Awards -one for "Best Classical Album" and three for "Best Chamber Music Performance," Gramophone maga?zine's Record of the Year award, regular appearances with virtually every chamber music series and festival worldwide, and an international reputation as a quartet that approaches both the classics and contempo?rary music with equal mastery and enthusiasm.
The Emerson String Quartet has an extensive 1998-99 season. The Quartet con?tinues its sold-out series at the Smithsonian Institution in Washington, DC and at the Hartt School of Music. In December, the group appears in New York's Carnegie Hall with a performance of Sibelius's Intimate Voices, the world premiere of Ellen Taaffe Zwilich's Quartet No. 2, and Schubert's Cello Quintet with Carter Brey. Additional North American concert venues include Chicago, Boston, Philadelphia, Pittsburgh, La Jolla, Aspen, Los Angeles, San Francisco, Toronto, Houston, Seattle, Denver and Vancouver. International highlights will be appearances in Berlin, Vienna, London, Amsterdam's Concertgebouw, the Louvre, and a tour of Japan.
In 1987, the Emerson signed an exclu?sive recording contract with Deutsche Grammophon, which led to its acclaimed recording of Bartok's complete string quar?tets. In 1990, the Emerson received the Grammy for "Best Classical Album" and Gramophone magazine's "Record of the Year" award for the Bartok cycle. This was the first time in the history of each award that a chamber music ensemble had ever received the top prize. In 1994, the Emerson added another Grammy to its discography when American Originals, a compact disc of Ives and Barber quartets, received the award for "Best Chamber Music Recording." In March 1997, the Emerson released the com?plete quartets of Beethoven to overwhelm?ing critical acclaim, and, the following year, received its fourth Grammy award for "Best Chamber Music Recording." A disc of Edgar Meyer's Bass Quintet paired with Ned
Rorem's String Quartet was released in March, 1998. A live performance recording of the complete quartets of Shostakovich is slated for release early in 2000.
Formed in the Bicentennial year of the United States, the Emerson String Quartet took its name from the great American poet and philosopher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position, and are joined by violist Lawrence Dutton and cel?list David Finckel. All four members have performed numerous benefit concerts for causes ranging from nuclear disarmament to the fight against AIDS, world hunger and children's diseases. The Quartet has been the topic of two award-winning films and appears on a laser video disc released by Teldec. In 1994, the Quartet received the University Medal for Distinguished Service from the University of Hartford and in
1995, each member was awarded an hon?orary doctoral degree from Middlebury College in Vermont. The Emerson String Quartet has been featured in The New York Times Magazine, USA Today, Elle, Bon Appetit, The Strad, and Strings magazines and on PBS's "City Arts". The quartet will be seen in the fall of 1998 on A&E's Biography of Beethoven.
This performance marks the Emerson String Quartet's sixth appearance under UMS auspices.
A founding member of the Emerson String Quartet, Eugene Drucker has also established himself as a solo artist. He has performed as soloist with the orchestras of Antwerp, Liege, Brussels, Montreal, Omaha, Austin, Anchorage, Richmond and Hartford, and with the Aspen Chamber Symphony, Westchester Philharmonic and American Symphony Orchestra. While earning a BA in English Literature at Columbia University, Mr. Drucker studied with Oscar Shumsky at the Juilliard School for his Artist Diploma. A prizewinner in the 1975 International Violin Competition in Montreal, Drucker won a Bronze Medal at the Queen Elisabeth International Competition in Brussels in 1976. Later that year he gave his New York debut as a Concert Artist Guild Winner. Eugene Drucker is a Visiting Professor of Violin and Chamber Music at the Hartt School of Music at the University of Hartford. Mr. Drucker has recorded the complete unaccompanied violin works of J.S. Bach for Novello Records, soon to be re-issued by Parnassus Records, and the complete sonatas and duos of Bartok for Biddulph Records with pianist Diana Walsh and Emerson col?league Philip Setzer. Violin: Antonius Stradivarius (Cremona, 1686)
Violinist Philip Setzer was born in Cleveland, Ohio and began studying violin at the age of five with his parents, both former members of the Cleveland Orchestra. He continued his studies with Josef Gingold and Raphael Druian, and later at the Juilliard School with Oscar Shumsky. In 1967, Mr. Setzer won second prize at the Meriwether Post Competition in Washington D.C., and in 1976 he received a Bronze Medal at the Queen Elisabeth International Competition in Brussels. He has appeared as a guest soloist with the National Symphony and, on several occasions, with the Cleveland Orchestra. Additionally, Mr. Setzer has par?ticipated in the Marlboro Music Festival and performed with the orchestras of Brussels, Omaha, Anchorage, Richmond, Hartford, and Westchester. A founding member of The Emerson String Quartet, he also teaches
as Visiting Professor of Violin and Chamber Music at the Hartt School of Music at the University of Hartford. In May 1997 Mr. Setzer joined Isaac Stern and a distinguished international faculty at Carnegie Hall for the Isaac Stern Chamber Music workshop. In June 1998 he travels to Jerusalem for the Isaac Stern Chamber Music Encounter. In April of 1989, Mr. Setzer premiered Paul Epstein's Matinee Concerto with the Hartt Wind Symphony. This piece, dedicated to and written for Mr. Setzer, has since been performed in Hartford, New York, Cleveland, Boston and Aspen to favorable acclaim. Violin: Nicolas Lupot (Orleans, 1793)
Lawrence Dutton has earned distinction as a recitalist, soloist with orchestra, chamber musician, recording artist and teacher of viola and chamber music. This season Mr. Dutton will give recitals in New York, Boston, and Washington, DC, and collaborate with pianist Yefim Bronfman in Germany. With the Beaux Arts Trio, Mr. Dutton has recorded the Shostakovich Piano Quintet, Op. 57 and the Faure g minor Piano Quartet, Op. 45 for the Philips label. In 1992 a recording under the Bridge label with mezzo-soprano Jan De Gaetani was nominated for a Grammy Award. For the national arts cable network, BRAVO, he has made video recordings of Stravinsky and Hindemith. As a soloist, Mr. Dutton has appeared with the Aspen Festival Orchestra, the Antwerp Philharmoni in Belgium, and the Toledo, Hartford, Omaha, Richmond, and Anchorage orchestras, among others. He has performed as guest artist at the music festivals of Aspen, Caramoor, Santa Fe, Ravinia, and Chamber Music Northwest. Mr. Dutton is also a member of the recently formed Masters Quartet with pianist Misha Dichter, violinist Robert McDuffie, and cellist Carter Brey. He has collaborated as a teacher with Isaac Stern at the Third Jerusalem International
Chamber Music Encounters in Israel. Lawrence Dutton began violin and viola studies with Margaret Pardee and continued with Francis Tursi at the Eastman School, when he began playing viola exclusively. He earned his Bachelors and Masters degrees at the Juilliard School, where he studied with Lillian Fuchs. While at Juilliard, Mr. Dutton was awarded the Walter M. Naumberg Scholarship. Mr. Dutton is currently a Visiting Professor of viola and chamber music at the Hartt School of Music, University of Hartford, and resides in Bronxville, New York with his wife, violinist Elizabeth Lim-Dutton, and their sons Luke Thomas and Jesse Lee. Mr. Dutton plays exclusively on Helicore viola strings made by D'Addario. Viola: P.G. Mantegazza (Milan, 1796)
Cellist David Finckel's 1998-99 season includes an extensive solo tour of the American West, with appearances in Oregon, New Mexico, Wyoming and Colorado, in addition to recitals in Los Angeles, San Francisco and Vancouver. He will make his debut at the Kennedy Center in Washington, and will return to New York's 92nd Street Y for a concert celebrat?ing the music of Andre Previn. In the fall Finckel (with pianist Wu Han) tours England, playing his second recital at Wigmore Hall, and continues on to Germany where he will make his first European recital tour. Last season, Finckel and Wu Han also made their first tour of Japan, playing the complete cycle of Beethoven sonatas in Tokyo, Yokohama and Sapporo. David Finckel's wide-ranging musical activities also include the recent launch of ArtistLed, the first musician-directed and Internet-based recording com?pany ( ArtistLed's innovations have been the subject of numerous feature stories, from The New
York Times to BBC Music Magazine, and on television, CNN's Turner Entertainment Report and European Business News. In the summer of 1998 Finckel assumed artistic directorship of La Jolla's distinguished annual music chamber music festival, SummerFest. Cello: J.B. Guadagnini (Milan, 1754)
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, assisting in artists services and mailings, escorting students for our pop?ular youth performances and a host of other projects. Call 734.913.9696 to request more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College Work-Study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. The all-volunteer 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.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
UMS CAMERATA DINNERS Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and conve?nient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per per?son. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reservation priority.
Saturday, October 10 St. Petersburg Philharmonic
Saturday, October 24 Budapest Festival Orchestra Note: This dinner will be held in the Hussey Room at the Michigan League.
Monday, November 2 Kirov Symphony Orchestra Wednesday, November 11 Mitsuko Uchida Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A deli?cious meal followed by priority, reserved seat?ing at a performance by world-class artists makes an elegant evening--add luxury accom?modations to the package and make it a com?plete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
Faesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Jan. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Rente Fleming, soprano Pre-performance dinner
The Gospel at Colonus Post-performance dinner
American String Quartet Post-performance dinner
Orpheus Chamber Orchestra with Pepe Romero Pre-performance dinner
The Tallis Scholars Pre-performance dinner
Package price $50.00 per person (tax & tip incorporat?ed) includes guaranteed dinner reservations (select any item from the special package menu, which includes entree, soup or salad, soft beverage or coffee, and fruity Italian ice for dessert) and reserved "A" seats on the main floor at the performance for each guest.
Groups of 50 or more receive an additional discount!
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations
loin Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the per?formance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. Dec. 5 Fri. Jan. 8 Sat. Ian. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
Handel's Messiah
Trinity Irish Dance Company
The Gospel at Colonus
Anne Sofie von Otter, mezzo soprano
imMERCEsion: The Merce Cunningham
Dance Company
Meryl Tankard Australian Dance
Theatre: Furioso
Abbey Lincoln
Alvin Ailey American Dance Theater
Sweet Honey in the Rock
Package price $209 per couple (not including tax & gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Wed. Oct. 14 Thur. Nov. 12 Sun. Dec. 6 Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri. Apr. 23
John Williams, guitar Pre-performance dinner
Assad Brothers with Badi Assad, guitar Pre-performance dinner
Handel's Messiah Post-performance dinner
The Gospel at Colonus Pre-performance dinner
Kodo Pre-performance dinner
American String Quartet Post-performance dinner
Lincoln Center Jazz Orchestra with Wynton Marsalis Pre performance dinner
Package price $60 per person includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 Thur. Mar. 11 Fri. Mar. 19 Sun. Apr. 25
American String Quartet Pre-performance dinner
James Galway, flute Pre-performance dinner
Alvin Ailey American Dance Theater Pre-performance dinner
NHK Symphony Orchestra of Tokyo Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products Cultivating clients
Developing business-to-business relationships Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling UMS Group Sales at 734.763.3100.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subsequent honorees being Jessye Norman and Garrick Ohlsson.
This season's Ford Honors Program will be held Saturday, May 8. The recipient of the 1999 UMS Distinguished Artist Award will be announced in January.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of August 14, 1998. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation ParkeDavis Pharmaceutical
Research University of Michigan
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Sally and Ian Bund
Kathleen G. Charla
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
James and Millie Irwin
Elizabeth E. Kennedy
Leo Legatski
Richard and Susan Rogel
Carol and Irving Smokier
Ron and Eileen Weiser
Businesses Arbor Temporaries
Personnel Systems, Inc. Brauer Investments Detroit Edison Foundation Elastizell
JPEincThe Paideia Foundation KeyBank
McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation The Edward Surovell Co.Realtors TriMas Corporation University of Michigan -
Multicutural Affairs WDET WEMU WGTE WMXD Wolverine Temporaries, Inc.
Foundations Benard L. Maas Foundation New England Foundation for the Arts, Inc.
Herb and Carol Amster
Edward Surovell and Natalie Lacy
Tom and Debbie McMullen
Beacon Investment Company First of America Bank General Motors Corporation Thomas B. McMullen company Weber's Inn
Individuals Michael E. Gellert Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna Romney Mr. David G. Loesel Robert and Ann Meredith Prudence and Amnon Rosenthal Marina and Robert Whitman Roy Ziegler
Bank of Ann Arbor
Blue Nile Restaurant
Cafe Marie
Deloitte & Touche
Michigan Radio
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton 8c Scheetz
Sesi Lincoln-Mercury
University of Michigan -
School of Music Visteon
Foundations Chamber Music America Institute for Social Research
Individuals Martha and Bob Ause Maurice and Linda Binkow Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Edwin F. Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Mr. Edward P. Frohlich Beverley and Gerson Geltner Sue and Carl Gingles Norm Gottlieb and Vivian Sosna Gottlieb
Keki and Alice Irani ohn and Dorothy Reed Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses AAA of Michigan Alf Studios Butzel Long Attorneys Comerica
Crown House of Gifts Joseph Curtin Studios Environmental Research Institute of Michigan ERIM International Inc. Main Street Ventures Masco Corporation Red Hawk Bar and Grill Regency Travel Republic Bank STM, Inc. Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter Suzanne A. and
Frederick J. Beutler Joan A. Binkow Ron and Mimi Bogdasarian Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Laurence Boxer, M.D.;
Grace J. Boxer, M.D.
Barbara Everitt Bryant Jeannine and Robert Buchanan Mr. and Mrs. Richard I. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Canrwell Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda I. Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Linda and Richard Greene Frances Greer Alice Berberian Haidostian Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Hcrzog Julian and Diane Hoff Mr. and Mrs. William B. Holmes Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Michael and Phyllis Korybalski Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Dean and Gwen Louis Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier Dr. H. Dean and
Dolores Andrew and Candice Mitchell Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic
Mr. and Mrs. Homer Ncal Sharon and Chuck Newman M. Haskell and
Jan Barney Newman William A. and
Dcanna C. Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Rickctts Barbara A. Anderson and
John H. Roman! Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedcl Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Thcis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vandcn Belt Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Dennis Dahlmann, Inc. Consulate General of the
Federal Republic of
Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company
Shar Products Company Standard Federal Bank Swedish Office of Science
and Technology
Harold and Jean Grossman
Family Foundation The I.ebensfeld Foundation Nonprofit Enterprise at Work
The Power Foundation Rosebud Foundation
Carlcnc and Peter Alifcris
Dr. and Mrs. Rudi Ansbachcr
Catherine S. Arturc
Janet and Arnold Aronoff
Max K. Auppcrlc
lames R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Dr. and Mrs. Mason Barr, )r. Robert and Wanda Bartlctt Karen and Karl li.irlsdii Ralph P. Becbe RE, Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen roley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean w. Campbell Bruce and Jean Carlson Janet and Bill Casscbaum Imiii and Siu Ying Chang Mrs. Raymond S. Chile lanicc A. Clark I run and Heidi Cohan Roland J. Cole and
I-llsa Kin her Coli' James and Constance onk Susan and Arnold Coran Mary K. Cordes H. Richard Crane Alice B. ( r.iwlord William 11. and
Linda J. Damon III Delia DiPictro and
lack Wagoner, M.D. Molly and Bill Dobson Charles and Julia Fisendralt David and Lynn Fngelbcrt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. I'arhat Claudinc Farrand and
Daniel Mocrman Sidney and Jean Pine i lare M, Fingerle Mrs. Beth B. Fischer Daniel R. Foley
Linn-. and Anne Pord (loldsmilh .iiiI
Spencer Ford Phyllis W. Foster Paula L. Bockcnstcdt and
David A. Fox
Wood md Rotenun Gdfl Charles and Rit.i ielmtfl Beverly Genhowib Elmer G. Gilbert ind
Lois M. Vcrbruggc Margarel '. (lilberl Joyce and Fred M. Glndx rg I'.iul .ind Anne i ileiidon I r. Ali-x.uiilii i mi Dr. and Mrs. William A (Jracic
Eliztbetfa Needbun Gnhun
Jerry M. and Mary K. (ir.iy Dr. form and IUmkt M. rrtdl n I il.i and Bob i in en John and Helen Griffith I ? ?? Miry i IK ii i ,iiiun Mr. and Mrs. Flmcr F. llamcl Robert and II.iim. Susan I !.imis
4 2 Benefactors, continued
Walter and Diannc Harrison Clifford and Alice Hart Taraneh and Carl Haske Bob and Lucia Heinold Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Janet Woods Hooblcr Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and Gave H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink
Susan and Stevo Julius Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby KUngler Philip and Kathryn Klintworth Jim and Carolyn Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Helen and Arnold Kuethe Lee E. Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski
Myron and Bobbie Levine Evie and Allen Lichter Jeffrey and Jane Mackie-Mason Edwin and Catherine Marcus Marilyn Mason Joseph McCune and
Georgiana Sanders Ted and Barbara Meadows Walter and Ruth Metzger Myrna and Newell Miller Lester and leanne Monts Dr. Eva L. Mueller Martin Neuliep and
Patricia Pancioli Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Mark Ouimet and
Donna Hrozencik Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Richard H. and Mary B. Price Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmusscn Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia (Catherine and William Ribbens Ken and Nina Robinson
Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and )ane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and loan Singer George and
Mary Elizabeth Smith Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffck Professor Louis and
Glennis Stout
Dr. and Mrs. leoffrey K. Stross Bob and Betsy Teeter lames L. and Ann S. Telfer Dr. and Mrs.
E. Thurston Thieme Sally Wacker Ellen C. Wagner Gregory and Annette Walker Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer and Ruth Williams Mrs. Elizabeth Wilson Frank E. Wolk ). D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis' Nancy and Martin Zimmerman
Bella Ciao Trattoria
Cooker Bar and Grille
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
St. Joseph Mercy Hospital
UVA Machine
Arts Management Group Jewish Federation of
Metropolitan Chicago United Jewish Foundation of
Metropolitan Detroit
Michael and Suzan Alexander
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
lonathan and Marlene Ayers
Essel and Menakka Bailey
Julie and Bob Bailey
Dr. and Mrs. Daniel R. Balbach
Lcsli and Christopher Ballard
Cy and Anne Barnes
Norman E. Barnett
Leslie and Anita Bassett
Scott Beaman
Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstcin Mary Steffck Blaske and
Thomas Blaske Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozcll Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. loseph and Mary Jo Brough Olin L. Browder June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr lames S. Chen Don and Bctts Chisholm Dr. Kyung and Young Cho Robert J. Cicrzniewski John and Nancy Clark Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and leffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mary R. and John G. Curtis DASH
Ed and Ellic Davidson Laning R. Davidson, M.D. lohn and Jean Debbink Mr. and Mrs. Jay De Lay Louis M. DeShantz Elizabeth Dexter Gordon and Elaine Didier Steve and Lori Director Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Prof. William Gould Dow Jane E. Dutton Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and I mil Engcl Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown Reno and Nancy Feldkamp
Dede and Oscar Feldman Dr. James F. Filgas Carol Finerman Herschel and Annette Fink Susan R. Fisher and
John W. Waidley Beth and Joe Filzsimmons Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Deborah and Ronald Freedman Andrew and Dcirdre Freiberg Ida J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Graver Ken and Margaret Guire Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Michael C. and Deannc A. Hardy Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Dr. and Mrs. Ronald W. Holz Dr. and Mrs. Joseph Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. lngling Carol and John Isles Professor and Mrs.
John H. Jackson Harold and Jean Jacobson Mr. and Mrs. Donald L. Johnson Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie Kish Drs. Paul and Dana Kissner James and Jane Kister Dr. George Kleiber loseph and Marilynn Kokoszka Mclvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff Barbara and Charles Krause Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Bert and Catherine La Du John and Margaret Laird Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Jill Latta and David S. Bach John and Theresa Lee Frank Legacki and Alicia Torres Richard LeSueur lacqueline H. Lewis Lawrence B. Lindemer Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Richard Marcy Nancy and Philip Margolis Geraldinc and Sheldon Markel Irwin and Fran Martin Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Margaret W. Maura leffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyea and
Piotr Michalowski Leo and Sally Miedlcr leancttc and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun Dr. M. Patricia Mortell Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and Germaine Chipault Barry Nemon and Barbara Stark-Nemon Veltajean Olson and
D. Scott Olson Mrs. Charles Overberger Donna D. Park Shirley and Ara Paul Dr. Owen Z. and
Barbara Pcrlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince Bradley Pritts
J. Thomas and Kathleen Pustell Leland and Elizabeth Quackenbush
Anthony L. Rcffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart lames and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff Jerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Mul.i and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Mrs. Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Virginia B. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Charlotte Sundelson Brian and Lee Talbot Ronna and Kent Talcott Eva and Sam Taylor Cynthia A. Terrill Paul Thielking Edwin J. Thomas Alleyne C. Toppin Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitchouse Thomas and Iva Wilson
Charlotte Wolfe Mr. and Mrs. A. C. Wooll Phyllis B. Wright MaryGrace and Tom York Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren Gail and David Zuk
Atlas Tool, Inc. Coffee Express Co. Edwards Brothers, Inc. General Systems
Consulting Group The Kennedy Center John Leidy Shop, Inc. Scientific Brake and
Equipment Company
The Sneed Foundation, Inc.
)im and )amic Abelson
John R. Adams
Invin P. Adclson, M.D.
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. Allardycc
Mike Allcmang
Richard and Bcttyc Allen
Richard Amdur
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Dr. and Mrs. Dennis L AngelHs
Elaine and Ralph Anthony
Bert and Pat Armstrong
Thomas J. and Mary E. Armstrong
Gaard and Ellen Arncson
Mr. and Mrs. Lawrence E. Arneti
Mr. and Mrs. Dan E. Atkins III
Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Virginia and Jerald Bachman
Lillian Back
lane Bagchi
Prof, and Mrs. J. Albert Bailey
Doris I. Bailo
Robert L. Baird
Bill and Joann Baker
Dennis and Pamela (Smitter) Baker
Laurence R. and Barbara K. Baker
Maxine and Larry Baker
Drs. Helena and Richard Baton
John R. Barcham
David and Monika Barera
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Shcrri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Dorothy W. Bauer
Roscmaric Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckcrt Robert M. Beckley and ludy Dincscn Nancy Bender Walter and Antjc Benenson Harry and Betty Bcnford Meretc and Erling Blondal Bengtsson Bruce Benner Joan and Rodney Bcntz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
4 4 Associates, continued
Abraham and Thelma Bcrman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher Mark Bertz
R. Bczak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes lack and Anne Birchficld William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly . Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola ). Borchardt leanne and David Bostian Bob and fan Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Brater Professor and Mrs. Dale E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Dr. Frances E. Bull Margaret and (ohn Burch Marilyn Burhop and Bill Butler Robert A. Sloan and Ellen M, Byerlein Patricia M. Cackowski, M.D. Joanne Cage H. D. Cameron Jenny Campbell (Mrs. D.A.) James and Jennifer Carpenter )an and Steve Carpman Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and Thomas H. Haug lohn and Patricia Carver Dr. and Mrs. Joseph C. Cerny Kathran M. Chan William and Susan Chandler J. Wehrley and Patricia Chapman loan and Mark Chcslcr Catherine Christen Mr. and Mrs. C. Bruce Christcnson Edward and Rebecca Chudacoff Nancy Cilley
Brian and Cheryl Clarkson Charles and Lynne Clipper! Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Howard and Vivian Cole Mr. and Mrs. Michael F. Collier Ed and Cathy Colone Edward J. and Anne M. Comeau Patrick and Anneward Conlin Nan and Bill Conlin Thomas Conner Donald W. Cook Gage R. Cooper Robert A. Cowles Clifford and Laura Craig Marjorie A. Cramer Dee Crawford
Richard and Penelope Crawford Charles and Susan Cremin Mary C. Crichton Lawrence Crochicr Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard J. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschrodcr
Lee and Millie Danielson
Jane and Gawaine Dart
Sunil and Mcrial Das
DarLinda and Robert Dascola
Ruth E. Datz
Dr. and Mrs. Charles Davenport
Mr. and Mrs. Arthur W. Davidge
David and Kay Dawson
Joe and Nan Decker
Dr. and Mrs. Raymond E Decker
Rossanna and George DeGrood
Penny and Laurence B. Deitch
Elena and Nicholas Dclbanco
William S. Demray
Lloyd and Genie Dethloff
Don and Pam Devine
Elizabeth and Edmond DeVine
A. Nelson Dingle
Dr. and Mrs. Edward R. Doezema
Jean Dolcga
Heather and Stuart Dombey
Fr. Timothy J. Dombrowski
Thomas Doran
Deanna and Richard Dorner
Dick and )ane Dorr
Thomas Downs
Paul Drake and Joyce Penner
Roland and Diane Drayson
Harry M. and Norrene M. Dreffs
Janet Driver
John Dryden and Diana Raimi
Robert and Connie Dunlap
Jean and Russell Dunnaback
Edmund and Mary Durfee
John W. Durstine
Jacquelynne S. Eccles
Elaine Economou and Patrick
Mr. and Mrs. Richard Edgar
Sara and Morgan Edwards
Rebecca Eisenberg and Judah
David A. Eklund
Judge and Mrs. S. J. Elden
Sol and Judith Elkin
Julie and Charles Ellis
Ethel and Sheldon Ellis
James Ellis and Jean Lawton
Jack and Wylma Elzay
Michael and Margaret Emlaw
Mackenzie and Marcia Endo
Jim and Sandy Eng
Patricia Enns
Carolyne and Jerry Epstein
Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman Eric and Caroline Ethington Barbara Evans Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Barbara and Garry C. Faja Mark and Karen Falahce Elly and Harvey Falit Thomas and Julia Falk Richard and Shelley Farkas Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr. Walter Federlein Inka and David Felbcck Phil and Phyllis Fellin Larry and Andra Ferguson Karl and Sara Fiegenschuh Clay Finkbeiner C. Peter and Bev A. Fischer Gerald B. and Catherine L. Fischer Dr. Lydia Fischer Patricia A. Fischer Charles W. Fisher Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher Winifred Fisher Barbara and James Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mr. and Mrs. Kurt Flosky David and Ann Fluckc Maureen Forrest, M. D. and
Dennis Capozza Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Frcelh Richard and loann Freethy Gail Fromes lerry Frost
BartleyR. Frueh.MD Joseph E. Fugere and
Marianne C. Mussett Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and lack Garris Del and C. Louise Garrison Mr. James C. Garrison Janet and Gharles Garvin Allan and Harriet Gelfond Jutta Gerber
Deborah and Henry Gerst Michael Gerstenberger W. Scolt Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow Han Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss Naomi Gottlieb and
Theodore Harrison, DDS Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Jeff Green
Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grille Margaret Grillot Laurie Gross
Richard and Marion Gross Dr. Robert and Julie Grunawalt Kay Gugala
Carl E. and Julia H. Guldberg Arthur W. Gulick, M.D. Mr. and Mrs. Lionel Guregian Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hacked Harry L. and Mary L. Hallock Mrs. William Halstead Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampcl Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Dr. Rcna Harold Nile and Judith Harper Stephen G. and Mary Anna Harper Laurelynnc Daniels and
George P. Harris
Ed Sarath and Joan Harris
Robert and )can Harris
Jerome P. Hartwcg
Elizabeth C. Hassinen
Ruth Hastie
James B. and Roberta Hausc
Icanninc and Gary Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Derek and Cristina Heins
Mrs. Miriam Heins
lini and Esther Hcitler
Sivana Heller
Margaret and Walter Helmreich
Paula B. Hcncken
Karl Henkcl and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Bruce and Joyce Herbert
Roger F. Hewitt
Hiroshi Higuchi
Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hocrner Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowell Howard L. and Pamela Holmes Ken and Joyce Holmes Arthur G, Homer, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and AJlison Housner Helga Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs.V.CHubbs Charles T. Hudson Hubert and Helen Huebl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imber Edward C. Ingraham Margaret and Eugene Ingram Perry Irish Judith G. (ackson Dr. and Mrs. Manuel Jacobs Robert and Janet James Professor and Mrs. Jerome Jclinek Keith and Kay Jensen JoAnn J. Jeromin Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Elizabeth and Lawrence Jordan Andrce Joyaux and Fred Blanck Tom and Marie Juster Paul Kantor and Virginia Wcckstrom Kan tor
Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas AJcx F. and Phyllis A. Kato Maxinc and David Katz Nick and Kazan Julia and Philip Kearney William and Gail Kccnan Janice Keller
lames A. Kelly and Mariam C Noland John B. Kcnnard Bryan Kennedy Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kileny Andrew Kim Jeanne M. Kin William and Betsy Kincaid Shira and Steve Klein Drs. Peter and Judith Klcinman
John and Marcia Knapp
Sharon L KnightTitle Research
Ruth and Thomas Knoll
Mr. and Mrs. lack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Kocnig
Ann Marie Kotre
Dick and Brenda Krachenbcrg
lean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krchbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
lane Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
Patricia M. Lang
Lome L. Langlois
Carl F. and Ann L. La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and leffrey Lehman Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Lcong Margaret E. Leslie David E. Levine George and Linda Levy Deborah Lewis
Donald J. and Carolyn Dana Lewis Judith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Mr. Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Naomi E. Lohr lane Lombard Patrick B. and Kathy Long Ronald Longhofer Armando Lopez R. Luisa Lopez-Grigera Richard and Stephanie Lord Robert G. Lovell Donna and Paul Lowry Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnce Walter A. Maddox Suzanne and lay Mahler Ronald and Jill Donovan Maio Deborah Malamud and Ncal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning Howard and Kale Market Lee and Greg Marks Alice and Bob Marks Rhoda and William Martel Ann W. Martin Rebecca Martin
Mr. and Mrs. Stephen D. Marvin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard Micheline Maynard LaRuth McAfee Thomas and Jackie McClain Dorcs M. McCree Jeffrey T. McDole James and Kathleen McGauley Eileen Mclntosh and
Charles Schaldcnbrand Mary and Norman Mclver Bill and Virginia McKeachic Daniel and Madelyn McMurtric Nancy and Robert Meader Samuel and Alice Meiscls Robert and Doris Mclling Allen and Marilyn Mcnlo Hely A. Merlc-Benncr
Jill McDonough and Greg Merriman
Henry D. Messcr Carl A. House
Robert and Bettie Metcalf
Lisa A. Mets
Professor and Mrs. Donald Meyer
Suzanne and Henry J. Meyer
Shirley and Bill Meyers
Francis and Helen Michaels
William and Joan Mikkelscn
Carmen and lack Miller
Robert Rush Miller
lohn Mills
Olga Moir
Dr. and Mrs. William G. Moller, Jr.
Patricia Montgomery
Inn and Jeanne Montie
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis lane and Kenneth Moriarty Paul and Terry Morris Melinda and Bob Morris Robert C. Morrow Cyril and Rona Moscow James and Sally Mueller Tom and Hedi Mulford Bern and Donna Muller Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabelle Nash Susan and Jim Newton John and Ann Nicklas Shinobu Niga Susan and Richard Nisbett Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmelee and William Nolting Richard S. Nottingham Steve and Christine Nowaczyk Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Mr. . L. Oncley Zibby and Bob Oneal Kathleen 1. Operhall Dr. Jon Oscherwitz Mitchcl Osman, M.D. Elisa A. (Kutni Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit Penny and Steve Papadopoulos Michael P. Parin Bill and Katie Parker Evans and Charlene Parrott Maria and Ronald Patterson Nancy K. Paul P. D. Pawelski Edward J. Pawlak Sumer Pek and Marilyn IVk Dr. and Mrs. Charles H. Peller Donald and Edith Pelz William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Ann Marie Petach Margaret and Jack Petersen Roger and Grace Peterson Jim and Julie Phclps Mr. and Mrs. Frederick R. Pickard Leonard M. and Loraine Pickering Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifrcd Pierce Russell and Elizabeth Pollard Hines Robert and Mary Pratt Jacob M. Price Joseph and Mickey Price V. Charlccn Price Ernst Pulgram Malayatt Rabindranathan Mr. and Mrs. Mitchell Radcliff Patricia Randte and James Eng Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Rcade
Michael Ready
Sandra Reagan
Gabriel M. Rcbeiz
[Catherine R. Reebet
Stanislav and Dorothy R. Rchak
John and Nancy Reynolds
Alice Rhodes
James and Helen Richards
Elizabeth G. Richart
Dennis I. Ringle
lohn and Marilyn Rintamaki
Sylvia Cedomir Ristic
Kathleen Roelofs Roberts
Dave and Joan Robinson
Janet K. Robinson, Ph.D.
Mary Ann and Willard Rodgers
Thomas and Catherine Rodziewicz
Mary F. Loeffler and
Richard K. Rohrer Damian Roman Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edie W. Rosenfeld Marilynn M. Rosenthal Charles W. Ross Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Dr. and Mrs. Robert Ruskin Bryant and Anne Russell Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandbcrg John and Reda Santinga Mike and Christi Savitski Helga and Jochen Schacht Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Charlene and Carl Schmult GeraJd and Sharon Schreiber David E. and Monica N. Schteingart Albert and Susan Schultz Aileen M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel Jonathan Bromberg and
Barbara Scott David and Darlene Scovell Michael and Laura Seagram E. J. Sedlander John and Carole Segall Richard A. Seid Suzanne Selig Janet C. Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Ruth and I. N. Shanberge Brahm and Lorraine Shapiro Matthew Shapiro and
Susan Garetz, M.D. David and Elvcra Shappirio Maurice and Lorraine Sheppard Dan Sherrick and Ellen Moss Rev. William). Sherzcr George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showaltcr Mary Alice Shulman John Shultz
Ned Shure and Jan Onder John and Arlenc Shy Douglas B. Siders, M.D. Dr. Bruce M. Sicgan Mr. and Mrs. Barry I. Siegel Milton and Gloria Siegel Eldy and Enrique Signori Drs. Dorit Adler and Terry Silver Michael and Maria Simonte Robert and Elaine Sims Alan and Eleanor Singer Donald and Susan Sinla h uu ). Sklenar Beverly N. Slater
Tad Slawecki
J. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and )ulic Sohnly
lames A. Somers
Judy Z. Somers
Mr. and Mrs. Edward ). Sopcak and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Burncttc Staebler
David and Ann Staiger
Constance Stankrauff
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempien
William and Georgine Steude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L. Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Rebecca G. Sweet and Roland J. Loup
Peg Talburtt and Jim Peggs
Mr. and Mrs. James R. Tamm
Jerry and Susan Tarpley
Margi and Graham Teall
Leslie and Thomas Tender
George and Mary Tewksbury
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-SUver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
). Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea Nergaard
Jane and Mark Vogcl
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
George S. and Lorraine A. Wales
Richard and Mary Walker
Lorraine Nadclman and
Sidney Warschausky Ruth and Chuck Watts Edward C. Weber Joan M. Weber Jack and Jerry Wcidenbach Carolyn J. Weiglc Gcranc and Gabriel Wcinrcich Lawrence A. Weis Donna G. Weisman Barbara Weiss Carol Campbell Wclsch and
John Welsch
John and Joanne Werner Rosemary and David Wescnberg Ken and Cherry Westerman Susan and Peter Westerman Paul E Dufiy and Marilyn L Whcaton
4 6 Advocates, continued
Mr. and Mrs. Nathaniel Whiteside William and Cristina Wilcox Honorable Kurtis T. and
Cindy M. Wilder Reverend Francis E. Williams John Troy Williams Shelly F. Williams Lois Wilson-Crabtree Beverly and Hadley Wine Dr and Mrs Ian Z. Winkelman Beth and I. W. Winsten Mr. and Mrs. Eric Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Stewart and Carolyn Work Charles R. and Jean L Wright Fran and Ben Wylie Mr. and Mrs. R. A. Yagle Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter fames and Gladys Young Mr. and Mrs. Robert Zager Dr. Stephen C. Zambito Phyllis Zawisza Craig and Megan Zechman David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Ayse's Courtyard Cafe Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Cards, Garris Sc
Garris Law Office Lewis Jewelers Organizational Designs Pen in Hand
Alice Simsar Fine Art, Inc. Zepeda and Associates
Schwartz Family Foundation
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Nichoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and Joan Wetzel Mr. and Mrs. Ronald G. Zollars
AAA Michigan
Alf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
H.u tii-Ul CompanyBartcch
Beacon Investment Company
Blue Nile Restaurant
Braucr Investments
Butzcl Long Attorneys
Charles Rcinhart Company
loscph Curt in Studios
JPE Inc.The Paideia Foundation
Deloitte & Touche
Environmental Research Institute
of Michigan ERIM International First of America Bank Forest Health Services Corporation Ford Motor Company General Motors Corporation Howard Cooper, Inc. KeyBank
Main Street Ventures Masco Corporation McKinley Associates Mechanical Dynamics Miller, Canfield, Paddock and Stone NBD Bank NSK Corporation O'Neal Construction Parke-Davis Pharmaceutical Research
Pepper, Hamilton & Schectz Red Hawk Bar & Grill Regency Travel Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank ' STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMullen Company Weber's Inn Wolverine Temporaries Zanzibar
John H. Bryant
Margaret Crary
Mary Crawford
George R. Hunsche
Alexander Krezel, Sr.
{Catherine Mabarak
Frederick C. Matthaei, Sr.
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBclt
Francis Viola III
Peter Holderness Woods
Helen Ziegler
Bernard and Ricky Agranoff
Ann Arbor Symphony Orchestra
Anncke's Downtown Hair and
Applause Salon
Catherine Arcure
The Ark
Dr. Emily Bandera
Paulett and Peter Banks
Gail Davis Barnes
Ede Bookstein
Janice Stevens Botsford
The Boychoir of Ann Arbor
Barbara Everitt Bryant
leannine Buchanan
Butzel Long
David G. Loesel, Cafe Marie
Tomas Chavez
Chelsea Flower Shop
Chianti Tuscan Grill
Elizabeth Colburn
Conlin Travel
Mary Ann and Roderick Daane
Peter and Norma Davis
Sam Davis
Katy and Tony Derezinski
Dough Boys Bakery
Rosanne Duncan
Einstein's Bagel
Pat Eriksen
Espresso Rovale Caffes
Damian ana {Catherine Farrcll
Judy Fike of J'Cakes
Beth and loe Fitzsimmons
Guillermo and lennifer Flores
Gallery Von Glahn
The Gandy Dancer
Beverly and Gerson Geltner
Generations for Children
Lee Gilles of the Great Frame Up
Anne Glendon
Renee Grammatico of Viola
Linda and Richard Greene
Daphne Grew
lim Harbaugh Foundation
Marilyn Harber, Georgetown Gifts
Jeanne Harrison
Esther Heitler
I. Downs Hcrold
Kim Hornberger
Kay and Tom Huntzicker
Stuart and Maureen Isaac
John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Steve Levicki
Gerome Kamrowski
Stephen and Mercy Kasle
Katherine's Catering
Martha Rock Keller
Ed Khun
Craig L. Kruman
Diane Kurbatoff
Bernice Lamey
Henry and Alice Landau
Maxine Larrouy
John Leidy Shop
Don and Gerri Lewis
Stephanie Lord
Mary Matthews
Marty's Menswear
Elizabeth McLeary
Charlotte McGeoch
Michigan Theatre
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Robert Morris
Motif Hair by Design
The Moveable Feast
Lisa Murray
Susan and Richard Nisbett
John and Cynthia Nixon
Baker O'Brien The Labino Studio
Christine Oldenburg
Karen Koykaa O'NeaJ
Mary and Bill Palmer
Pen in Hand
Maggie Long, Perfectly Seasoned
Chris W. Petersen
Mary and Randall Pittman
Pat Pooley
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauser Robinson
Richard and Susan Rogcl
Anne Rubin
Maya Savarino
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Grace Shackman
Richard Shackson
Janet and Mike Shatusky
Aliza and Howard Shevrin
George Shirley
tolln Shultz
Herbert Sloan
David Smith
Steven Spencer
)ohn Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Susan Tail of Fitness Success
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom Trocchio of Atys
Susan Ullrich
Charlotte Van Curler
Kathleen and Edward VanDam
Andrea Van Houweling
Karla Vandersypen
Emil Weddige
Ron and Eileen Wciser
Marina and Robert Whitman
Sabrina Wolfe
Young People's Theater Troubadours
Ann and Ralph Youngren
Soloist $25,000 or more Maestro $10,000 24,999 Virtuoso $7,500 9,999 Concertmaster $5,000-7,499 Leader $2,500 4,999 Principal $1,000 -2,499 Benefactor $500-999 Associate $250 499 Advocate$100-249 Friend $50 99 Youth $25
Because Mudlc Matters
UMS members have helped to make possible this 119th season of distinctive concerts. Ticket rev?enue covers only 61 of our costs. The generous gifts from our contributors continue to make the difference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
Advertiser Index
15 Ann Arbor Acura
35 Ann Arbor Reproductive
14 Ann Arbor Symphony
37 Arborcrest Memorial Park
27 Arriba
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
27 Bodman, Longley, and
32 Butzel Long
39 Charles Reinhart Co.
38 Chelsea Community
34 Chris Triola Gallery
38 Comerica Bank
11 Dobbs Opticians
12 Dobson-McOmber
33 Edward Surovell Co.Realtors
37 Emerson School
3 ERIM International
47 Ford Motor Company
50 Foto 1
12 Fraleigh's Nursery
26 Glacier Hills
19 Harmony House
37 Harris HomesBayberry
28 Howard Cooper Imports

34 Individualized Home Care
Nursing 3 Kerrytown Bistro
26 King's Keyboard House 13 KeyBank
19 John Leidy Shops, Inc.
27 Lewis Jewelers
42 McGlynn & Gubbins Attorneys
35 Miller, Canfield, Paddock,
and Stone
52 Mir's Oriental Rugs Mundus & Mundus NBD Bank Pen in Hand Performance Network Red HawkZanzibar SKR Classical Sweet Lorraine's Sweetwaters Cafe" Ufer and Co. I'M Matthaei Botanical
University Productions Whole Foods WDET WEMU WGTE WMXD WUOM

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