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UMS Concert Program, Sunday Mar. 07 To 21: University Musical Society: 1998-1999 Winter - Sunday Mar. 07 To 21 --

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Season: 1998-1999 Winter
University Of Michigan

Kodo David Daniels Martin Katz James Galway Abbey Lincoln kacs Quartet Alvin Ailey American Dance Theater The His Scholars Gypsy Caravan Sweet Honey in the Rock io Fontenay Steve Reich Ensemble Mozarteum Orchestra 1 Salzburg ;Cubanismo! Ewa Podle's Garrick Ohlsson liversity Musical Society of the University of MichiganWinter 1999 Season onymous 4 Lionheart Monsters of Grace Wynton Marsalis incoIn Center Jazz Orchestra NHK Symphony ichestra of Tokyo Sarah Chang Ford Honors Program
of the University of Michigan
The 1998-99 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: a triumphant Evgeny Kissin in his long-awaited UMS debut recital at Hill Auditorium; Itzhak Perlman performing with the Klezmer Conservatory Band as part of December 1997's In the Fiddler's House-, Burton Memorial Tower shimmer?ing on a concert evening.
4 Letters from the President and Chair
5 Corporate LeadersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
12 Ticket Services
14 UMS Choral Union History
16 Auditoria Burton Memorial Tower
20 Education and Audience Development
22 Season Listing
Concert Programs begin after page 26
28 Volunteer Information
30 Hungry
30 UMS Dining Experiences
Restaurant & Lodging Packages
32 Gift Certificates
32 The UMS Card
34 Sponsorship and Advertising
34 Acknowledgments
37 Advisory Committee
37 Group Tickets
38 Ford Honors Program
40 UMS Contributors
49 UMS Membership
50 Advertiser Index

From the President
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. I'm excited about the performances we're able to bring you this season and hope that you'll join us for others. A complete listing of the winter season begins on page 22. UMS has been presenting performances
in Ann Arbor for 120 years. During this time UMS has achieved a reputation for distinction in present?ing the performing arts. The process of engaging world-class artists to perform in our community requires special knowledge, intuition, and skills. UMS is fortunate to have as our Director of Programming one of the best in presenting field, Michael Kondziolka.
Michael joined the UMS staff ten years ago after interning for one year. It soon became apparent to all of us at UMS that Michael's combination of artistic knowledge and passion on the one hand and outstanding administrative and negotiating skills on the other would make him an ideal person to manage our efforts to expand, diversify, and strengthen our artistic offerings. Under Michael, UMS has added series featuring jazz, vocal recitals, world music, guitar, early music and vocal chamber music, dance, contemporary arts, and the artistic expressions of specific cultures. Michael's great
respect for both artists and audi?ences has led us to find many new per?formance venues particularly appro?priate for the specific art form being pre-
sented. Artists like coming to Ann Arbor. They like our audiences, concert halls, and tradition. But they also like being on a roster with the leading artists of our time, and that's what Michael assures will happen year after year. Thank you, Michael, for your extraordinary contribution to UMS and to our community.
I'd like to know your thoughts about this perfor?mance. I'd also like to learn anything we can do at UMS to make your concertgoing experience the best possible. 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
From the UMS Chair
It is with great pride that we acknowledge and extend our gratitude to the major business contributors to our 1998-99 season listed on the following pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence not only of their wish to accomplish good things for our community and region, but also to be associated with excellence. It is a measure of their belief in UMS that many of these companies have had a long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising require?ments are met by the private sector: very special individuals, organizations and companies that so
generously help bring the magic to UMS perfor?mances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at the University Musical Society are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
@@@@Beverley Geltner
Chair, UMS Board of Directors
Thank You, Corporate Leaders
Chairman anil ( l(. Aetna, Inc. On behalf of Aetna and Aetna Retirement Services, we arc proud to support the arts in southeastern Michigan,
especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their programs which help bring the arts to so many families and young people.
SAM EDWARDS President, lleaeoti 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 adventurous, more enjoyable city."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Jeanne Merlanti
President, Arbor
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 Rrstaurant "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."
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."
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, Brautr 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."
L. Thomas Conlin
Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte ScTouche 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 lives!"
President, Elastizell 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."
Gregg a. DeMar
Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their
valuable service to our community in support of students, children and families, and for enhancing their exposure to the Arts."
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 International. "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."
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."
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."
William Clay Ford, Jr.
Chairman, Ford Motor
"At Ford, we believe the
arts speak a universal
language. We're proud
of our long-standing
association with the
University Musical Society, its concerts, and the educational programs that enrich our community."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities
for supporting the University Musical Society and its continuing success in bring?ing high level talent to the Ann Arbor community." Niz
Richard a. manoogian
Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution
to diversity in arts programming and your efforts to enhance the quality of life in our community."
Erik H. Serr
Miller, CanfieU,
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."
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"
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."
Charles Hall
Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
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."
Michael E. korybalski
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."
PHILLIP R. DURYEA Community President, National City Bank
"National City Bank is pleased to continue our historical support of the University
Musical Society which plays such an important role in the richness of our community."
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."
John Psarouthakis,
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."
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"
Cresswell, Ph.D.
Sr. Vice President and Chief Scientific Officer, Warner Lambert Company "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."
MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
Michael Staebler
Managing Partner, Pepper, Hamilton & Schcetz "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."
Brian Campbell
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."
University Musical Society of the university of Michigan
BOARD OF DIRECTORS Bcverley B. Geltner, Chair Lctitia J. Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Featherman, Treasurer Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David ). Flowers Alice Davis Irani Stuart A. Isaac Gloria lames Kerry F. Bruce Kulp
Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff Joe E. O'Neal Randall Pittman Prudence L. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Ion Cosovich Douglas Crary Ronald M. Cresswell John D'Arms lames J. Dudcrstadt
Robben W. Fleming Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long
Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz
Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. lahn, 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 Group Sales David Cocagne, Assistant
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 Ann Hunter Greene,
Development Assistant Susan D. Halloran, Assistant
Director--Corporate Support Lisa Michiko Murray, Advisory
Liaison J. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Education Audience Development
Ben Johnson, Director Kate Remen, Manager Susan RatclifTe, Coordinator
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager lohn Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul ]omanlas. Assistant Head Usher
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Juliana Athayde Laura Birnbryer Rebekah Camm lack Chan Mark Craig Nikki Dobell Mariela Flambury David Her Bert Johnson Carrie Kahl Un Jung Kim Liesel Letzmann Ben Meekhof Kate Meyer Rebekah Nye Arianna Smith Amy Tubman Nicole Young
Laura Birnbryer Carla Dirlikov Laura Schnitkcr
President Emeritus Gail W. Rector
Debbie Herbert, Chair
Maureen Isaac, Co-Chair
Lisa Murray, Staff Liason
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
Joyce Ginsberg
Marianna Graves
Linda Greene
Mark Jolley
Mercy Kasle
Steve Kasle Maxine Larrouy Beth Lavoie Esther Martin Jeanne Merlanti Scott Mere Candice Mitchell Robert Morris John Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostann Mary Pittman leva Rasmussen Nina Hauser Robinson Sue Schroeder Meg Kennedy Shaw Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
Dody Viola
Fran Ampey Kitty Angus Gail Davis Barnes Al.m.i 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 Wcinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or disability. Tfie 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.
Barrier-Free Entrances
For mobility-impaired persons, 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. Tours
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
0 Cie ty of the University of Michigan
UMS Choral Union
Thomas Sheets, conductor
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 leadership 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 stimu?late 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.
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.
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 organiza?tion, which supports itself from ticket sales, cor?porate and individual contributions, foundation and government grants, and endowment income.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 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 Daphnis 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 performances of Berlioz' Requiem, Elgar's The Dream ofGerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
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.
For more information about the UMS Choral Union, please call 734.763.8997.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Aud?itorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past 84 years.
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.
Hill Auditorium is slated for renovation in the coming years. 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 improve?ments and patron conveniences.
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 studies.
Even more remarkable than the size of the gift 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. 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 interested and 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 features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic 1,710-seat Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond 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 bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and in
Auditoria, continued
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 in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a 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 acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella 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.
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 community, UMS now seeks out active and dynamic collabora?tions 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) performances. This year, more than 11,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colomis, 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 scheduled evening and weekend performances and providing educa?tional contexts. For more information on UMS youth education programs, 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 the Ford Motor Company Fund and Target.
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
Now entering its third year, this series is an opportunity to showcase and engage our artists in informal, yet in-depth, dialogues about their art form, their body of work and their upcoming performances. This Winter's series includes interviews with:
Choreographer Merce Cunningham
Composer Steve Reich and filmmaker Beryl Korot
Artistic Director and Choreographer Judith Jamison
This series of pre-performance presentations features 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:
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes two con?certs 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.
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, 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 Winter Season include:
American String QuartetBeethoven the Contemporary Series
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 opportunity for patrons who attend perfor?mances to gain additional understanding about the artists, performance and art form. Each Meet the Artist event occurs immediate?ly after the performance, and the question-and-answer session takes place from the stage. This winter, patrons will have the opportunity to meet, among others:
Choreographers Merce Cunningham and Meryl Tankard
Members of the acapella group Sweet Honey in the Rock
The American String Quartet and composer Kenneth Fuchs
A series of workshops for all K-12 series, these workshops area a part of UMS' efforts to pro?vide school teachers with professional develop?ment opportunities and to encourage on-going efforts to incorporate the arts in the curriculum. This Winter Season's workshops include three by Kennedy Center educators and three led by local experts tailored to UMS performances:
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.
To register for Teacher Workshops, please call 734-647-6712.
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 Winter brochures, or on the UMS Website:
1998-99 UMS Winter Season
Look for related Educational Events listed in blue.
Thursday, January 7, 8 P.M.
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by National City 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 of Music History and Musicology. Thursday, January, 14, 7 p.m., MI League Hussey Room. Meet the Artist post-performance dialogue from the stage. Sponsored by Pepper Hamilton, L.L.P. Media Partner WGTE.
8 P.M.
Sunday, January 17,3 P.M. Monday, January 18, 3 P.M. Community Gospel Sing-Along with the cast of The Gospel at Colonus. Wed, Jan 13,7 p.m. Martin Luther King Jr. Senior High School, 3200 E. Layfayette, Detroit. Call 734-647-6712 for information and registration.
Family Performance Special one-hour performance for parents and their children. Saturday, lanuary 16, 2 p.m.. Power Center. Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with 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 Art and Cultural Affairs. Media Partner WEMU and Metro Times.
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.
Friday, January 29, 8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LcSucur. Arts
Information Services, I-ri, Jan 29, 7 p.m.
Michigan League, Hussey Room.
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow,
STM, Inc., and the Swedish Round Table
Organizations. Media Partner WGTE.
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 "From Romeo to Leonore: The Operatic Quartet" by Steven Whiting, U-M Assistant Professor of Musicology, with U-M School of Music student musicians. Sun, Feb 7, 3 p.m. Michigan League, Vandenberg Room.
Meet the Artists Post-performance dialogue from the stage with the American String Quartet and composer Kenneth Fuchs.
Lecture "Interdisciplinary Relationships in Music and the Fine Arts" by composer Kenneth Fuchs, Mon, Feb 8, 12 noun. School of Music, Room 2033. Sponsored by Edwnrd Surovell Realtors with support from the Lila Wallace-Render'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
Brown-bag Lunch "Chance Patterns: Historic Moments in 50 years of Merce Cunningham's Choreography" by Kate Rcmen at the Institute for the Humanities on Merce Cunningham. Tuc, )an 12,12 noon, U-M Institute tor the Humanities. Merce Cunningham Mini Course--U-M under-grad and grad students earn 2 credit hours of Independent Study with Clay Delanghc with materials drawn from the Merce Cunningham Residency. Mass meeting held on lanuary 9, 12 noon, U-M Dance Building, Studio A, or email for details. Family Workshop: Chance Encounters Parents and their children (ages 7 and up) explore visual art, dance and music in a workshop on Sat, Feb 6 which culminates in a tree performance and reception at the Power (lenter on Wed. Feb 10; Workshop held at the Ann Arbor Art Center and I lance (ralleryPeter Sparling & Co. For more information and registration call the Ann Arbor Art Center, 994-8004 x 101 or walk-in registration at the Ann Arbor Art Center
Art Class: Random Patterns, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 6, 9 a.m. For informa?tion and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk in registration at the Ann Arbor Art Center. Art Lecture: Costume and Image: Form Function Funky, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Mon, Feb, 8, 7 p.m. For infor?mation and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center. Art Class: Drawn to Dance, taught by the Ann Arbor Art Center at the Power ( inter in conjunction with the Meat-1 winingham Dance Company Residency. Sat, Feb 13,
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information. ?
11 a.m. For information and registration call the Ann Arbor Art Center; W4-8004 x 101, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the Ann Arbor Public Schools, inspired by Merce Cunningham on display in the Power Center Lobby, Feb 1-14. Brown-bag Lunch at the Institute for the Humanities on John Cage's Cartridge Music presented by Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush, lues, Feb 9, 12 noon. U-M Institute for the Humanities. Music for Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tuesday, Feb 9, 2:45 p.m. U-M Dance Building Studio A. Master of Arts Interview of choreographer Merce Cunningham interviewed by Roger Copeland, Professor of Theater and Dance .it (iberlin College. Thu, Feb 11,7 p.m. U-M Dance Building, Hetty Pease Studio. Advanced Technique Master Classes taught by Meg Harper, Chair of the Cunningham Studio, at the U-M Dance Department, 10 places per class and 10 observers open to the public. Eight available: Tues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and Fri, Fob 10 and 12. 12:45 p.m. and 2:30 p.m. Call 734-763-5460 to register.
LifeForms--Computers and Choreography with U-M Professor Stephen Rush and Cunningham Company Archivist, David Vaughan. Fri, Feb 12, 9 a.m.. Design Lab 1, Media Union.
PREP Cunningham Company Archivist, I )avid Vaughan, leads a video discussion of Cunningham's choreography. Fri, Feb 12, 7 p.m., Modern Languages Building, Lecture Room.
Meet the Artist Post-performance dialogue from the stage, Fri, Feb 12. Advanced Technique Master Class taught by Robert Swinston, Assistant to the Choreographer. Sat, Feb 13, 10:30 a.m., Dance GalleryPeter Sparling & Co. To register, please call 734-747-8885. Study Day and Open Rehearsal Company Archivist, David Vaughan, leads discussions of Cunningham and his collaborators works at an open rehearsal. Sat, Feb 13, 1 p.m., Power Center balcony. For more information and registration please call 734-647-6712.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Sat, Feb 13,7 p.m., Michigan League, Hussey Room. Media Partner WDET and Metro Times.
MAXIM VENGEROV, VIOLIN IGOR URYASH, PIANO Sunday, February 14,4 P.M. Hill Auditorium Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO, GUITAR Monday, February 15, 8 P.M. Rackham Auditorium Sponsored by CF1 Croup.
Friday, February 19 Saturday,
February 20,8 P.M. Power Center
Dance Theater Lecture Demonstration by Meryl Tankard, U-M Department of Dance, Studio A, Wed, Feb 17,2:15 p.m. Master Classes at the U-M Department of Dance, Thu, Feb 18,11 a.m. and 12:45 p.m., 10 places per class and 10 observer spaces open to the public. Call 734-763-5460 to register
PREP Video talk of Meryl Tankard's chore?ography, Fri, Feb 19,7 p.m. Michigan League, Hussey Room. PREP Video talk of Meryl Tankard's chore?ography, Sat, Feb 20, 7 p.m., Michigan League, Koessler Library. Meet the Artist post-performance dialogue from the stage. Media Partner WDET and Metro Times.
Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
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, Canficld, 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 talk of signature Ailey chore?ography. Fri, March 19, 7 p.m. Michigan League, Vandenberg Room. PREP Video talk of signature Ailey chore?ography. Sat, March 20, 7 p.m., Michigan League, Kussey Room. Master of Arts Interview with artistic director and choreographer Judith Jamison, Sat, March 20, 2 p.m. location tbd. Sponsored by Forest Health Services and Mr. and Mrs. Randall Pitttnan. 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 Sponsored by AT&T Wireless with additional support from Republic Bank. Media Partner WDET.
Friday, March 26, 8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comerica
Bank and the Lila Wallace-Reader's Digest
Audiences for the Performing Arts Network.
Media Partner WEMU and Metro Times.
BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussions and keynote speaker on Beethoven and con?temporary composers. S.H, March p.m. Rackham Amphitheater and Assembly Hall.
PREP "A Rhetoric of Disintegration" by Steven Whiting, I'M Assistant Professor of Musicology, with School of Music stu?dent musicians. Sun, March 28, 3 p.m. Rackham Assembly Hall. 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
Saturday, April 10, 8 P.M.
Michigan Theater
Master of Arts Interview of composer
Steve Reich and filmmaker Beryl Korot.
Fri, April 9, 12 p.m. Michigan League,
Vandenbcrg Room.
Media Partner WDET and Metro Times.
Thursday, April 15,8 P.M.
Hill Auditorium
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
Friday, April 16,8 P.M.
EMU Convocation Center
(799 Hewitt Road between Washtenaw
Ave. and Huron River Drive)
Sponsored by Sesi Lincoln-Mercury.
Media Partner WEMU.
EWA PODLES, CONTRALTO GARRICK OHLSSON, PIANO Saturday, April 17, 8 P.M. Lydia Mendelssohn Theatre PREP "An Introduction to the Art ol I-w.i Podles" by Richard LeSucur, Vocal Arts Information Services, Sat, 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 Assisi Catholic Church
Thursday, April 22, 8 P.M.
Michigan Theater
Media Partner WDET and Metro Times.
Friday, April 23,8 P.M. Hill Auditorium
PREP Kcnn Cox, Professor of Music .it Michigan State and W.iync Suite Universities, interviews members of the Lincoln (Center lazz Orchestra, Fri, April 23, 7 p.m., Michigan League, Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from thcLila 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, April 25, 4 P.M.
Hill Auditorium
Sponsored by Trhnas 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. Media Partner HOUR Detroit Magazine.
University Musical Society
of the University of Michigan 1998-1999 Winter Season
Event Program Book Sunday, March 7, 1999 through Sunday, March 21, 1999
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.
David Daniels, countertenor 3
Sunday, March 7,4:00 pm Lydia Mendelssohn Theatre
James Galway, flute 11
Thursday, March 11,8:00 pm Hill Auditorium
Abbey Lincoln 21
Friday, March 12, 8:00 pm Michigan Theater
Takacs Quartet 23
Thursday, March 18,8:00 pm Rackham Auditorium
Alvin Ailey American Dance Theater
Friday, March 19, 8:00 pm 29
Saturday, March 20, 8:00 pm 39
Sunday, March 21,4:00 pm 45 Power Center
Countertenor Martin K at z, Piano
and KeyBank
Early Spanish Songs
Arr. Arne Dorumsgaard
Que bien me lo veo
Que bien me lo veo y bien me lo si Qud a tus manos morire'. La vida consiento que vos la mateis, Y sienta que siento que lo mereceis; Que en ella vereis quien tiene mi ft.
De la vida de este mundo
De la vida de este mundo non vas tome
gran codicia; Que quien piensa vivir un ano, no vive tan
solo un dia.
Pampano verde
Pampano verde, racimo albar; Quien vido duenas a tal hora andar Encinueco entre ellas, entre las doncellas.
Triste estaba el rey David
Triste estaba el rey David, Triste y con gran pasi6n, Cuando le vinieron neuvas De la muerte de Absal6n.
How well I see that I will die at your hands! My love for you allows me to let you kill me.
Great greed is not enough
in this life. Whoever things to live a year will be lucky
to live a day.
Green vine, white cluster of grapes,
Who has seen young girls pass by at such a time
Between them a young oak stands.
David the King was sad and filled with
emotion, When they brought him the news
of Absalom's death.
Con amores, la mi madre
Con amores, la mi madre, con amores
Asi dormida sonaba lo que el corazon velaba, Qu'el amor me consolaba Con mas bien que mereci.
A la caza, sus, a caza
A las caza, sus, a caza,
Ea, nuevos, amadores, todos a caza de amores!
Con un vuelo de dulzor volareis altaneria, Y cazareis al amor con tristeza y alegrfa. Ea, todos a porfia con halcones, con azores Vamos a caza de amores!
Vamos todos a esta caza, a cazar siendo
cazados, Pues que todos d'esta raza del amor somos
tocados. Pues que en todos los estados tiene el amor
cazadores, Vamos a caza de amores!
I feel asleep with love, mother.
I dreamed about my heart's care and love
consoled me far more than I deserved.
To the chase! Come, new lovers, come one and all!
With sweetness chase away arrogance,
in order to hunt love with joy and pain.
Take falcons, hawks, and stubbornness and let's hunt love!
What joy to be hunted while hunting, For all of us are touched by love. Let's go the chase!
(Friedrich von Matthisson) Franz Shubert
Einsam wandelt dein Freund im
Mild vom lieblichen Zauberlicht umflossen,
Das durch wankende Bliitenzweige
zittert, Adelaide!
In der spiegelnden Flut, im Schnee
der Alpen,
In des sinkenden Tages Goldgewolke, Im Gefilde der Sterne strahlt dein Bildnis, Adelaide!
Lonely wanders thy friend in spring's
green garden,
Mildly streameth the magic light around him, As through trembling flowr'y branches
it quivers, Adelaide!
In the mirror-like stream, in Alpine
In the clouds' golden glow at day's declining, In the starfields of heaven gleams thine image, Adelaide!
Abendluftchen im zarten Laube flustern, Silberglockchen des Mai's im Grase sauseln Wellen rauschen und
Nachtigallen fldten, Adelaide!
Einst, O Wunder! entbluth auf meinem Grabe, Eine Blume der Asche meines Herzens, Deutlich schimmert, auf jedem
Purpurblattchen, Adelaide!
Nacht und Traume
(Matthaus von Collin) Shubert
Heilige Nacht, du sinkest nieder; Nieder wallen auch die Traume, Wie dein Mondlicht durch die Raume, Durch der Menschen stille Brust. Die belauschen sie mit Lust; Rufen, wenn der Tag erwacht: Kehre wieder, heilige Nacht! Holde Traume, kehret wieder!
Auf dem Wasser zu singen (Friedrich Leopold) Shubert
Mitten im Schimmer der spiegelnden Wellen Gleitet, wie Schwane, der wankende Kahn; Ach, auf der Freude sanftschimmemden Wellen Gleitet die Seek dahin wie der Kahn; Denn von dem Himmel herab auf die Wellen Tanzet das Abendrot rund um den Kahn.
Uber den Wipfeln des westlichen Haines Winket uns freundlich der rbtliche Schein, Unter den Zweigen des ostlichen Haines Sauselt der Kalmus im rotlichen Schein; Freude des Himmels und Ruhe des Haines Atmet die Seel im errotenden Schein.
Evening winds in the tender leaves are whisp'ring, Silver Maybells amid the cool grass rustling, Waves are murm'ring, and
nightingales keep trilling, Adelaide!
Soon, O wonder! upon my grave behold it, Springs a blossom from out my heart's
cold ashes;
Clearly shining on ev'ry purple petal: Adelaide!
Night and Dreams
Holy night, down you sink; down too float dreams, as your moonlight through space, through the silent hearts of men. To these they hearken, joyful; crying out, when day awakes: come again, holy night! Sweet dreams, come again!
To be sung upon the water
Amidst the shimmer of mirroring waves swan-like glides the wavering skiff; ah, on joy's gently shimmering waves the soul goes gliding on like the skiff; for from heaven onto the waves the evening glow dances around the skiff.
Over the tops of the westerly wood, friendly beckons the reddish gleam, beneath the branches of the easterly wood the sweet-flag murmurs in the reddish gleam; the joy of heaven, the peace of the wood the soul inhales in the reddening gleam.
Ach, es entschwindet mit tauigem Fliigel Mir auf den wiegenden Wellen die Zeit. Morgen entschwindet
mit schimmerndem Fliigel Wieder wie gestern und heute die Zeit, Bis ich auf hoherem, strahlendem Flugel Selber entschwinde der wechselnden Zeit.
Der Tod und das Madchen (Matthias Claudius) Shubert
Das Madchen:
Voriiber, ach, voriiber! Geh, wilder Knochenmann! Ich bin noch jung, geh, Lieber! Und riihre mich nicht an.
Der Tod:
Gib deine Hand, du schon
urid zart Gebild! Bin Freund und komme nicht
zu strafen.
Sei guten Muts! Ich bin nicht wild, Sollst sanft in meinen Armen schlafen.
(Ludwig Holty) Shubert
Freuden sonder Zahl! Bliihn im Himmelssaal! Engeln und Verklarten, Wie die Vater lehrten. O, da mocht ich sein Und mich ewig freuen!
Jedem lachelt traut Eine Himmelsbraut; Harf und Psalter klinget, Und man tanzt und singet. O, da mocht ich sein Und mich ewig freuen!
Alas, away on dewy wings
from me on the rocking waves flees time.
Tomorrow away on
shimmering wings
as yesterday, as today, again will flee time, until I upon loftier, radiant wings myself shall flee the changing time.
Death and the Maiden
The Maiden:
Go by, oh, go by,
harsh bony Death!
I am still young. Go, my dear,
and do not touch me.
Give me your hand, you fair
and gentle thing. I am a friend and do not come
to punish.
Be of good cheer! I am not harsh, In my arms you shall sleep softly!
Joys without number bloom in Heaven's hall for angels and transfigured, as our fathers taught. Oh, there would I be, and rejoice eternally!
Sweetly upon all smiles a heavenly bride; harp and psalter sound, and all dance and sing. Oh, there would I be, and rejoice eternally!
Lieber bleib ich hier, Lachelt Laura mir Einen Blick, der saget, Dafi ich ausgeklaget. Selig dann mit ihr, Bleib ich ewig hier!
Here I'll rather stay if Laura look my way, and give a look that says I've to lament no more. Blissful then with her, I'll stay ever here!
Cinq melodies populaires grecques
(Michel Dimitri Calvocoressi) Maurice Ravel
Chanson de la mariee
ReVeille toi, perdrix mignonne, Ouvre au matin tes ailes, Trois grains de beauts, Mon coeur en est brul?. Vois le ruban d'or que je t'apporte Pour le nouer autour de tes cheveux. Si tu veux, ma belle, viens nous marier! Dans nos deux families tous sont allies.
La-bas, vers l'6glise
La-bas, vers l'glise, Vers l'glise, Aiyo Sideio, L'dgiise, 6 Vierge Sainte, L'eglise, Aiyo Costandino Se sont rdunis, Rassembles en nombre infini Du monde, 6 Vierge Sainte, Du monde tous les plus braves!
Quel galant m'est comparable
Quel galant m'est comparable Entre ceux qu'on voit passer Dis, dame Vassiliki Vois, pendus a ma ceinture, Pistolets et sabre aigu... Et c'est toi que j'aime!
Awake little partridge,
greet the morning with open wings.
The three beauty spots
put my heart on fire.
Look at the golden ribbon which I bring you
to tie 'round your hair.
Let us get married, my love, if you will!
In our two families all are related.
Yonder, at the church,
at the Church of Aiyo Side'ro,
the Church, O Blessed Virgin,
the Church of Aiyo Costandino
has come together,
have assembled in great numbers people,
O Blessed Virgin,
all of the bravest people!
What dandy can compare with me,
of all those passing by
Won't you tell me, Vassiliki
Look at the pistols
and the sharp sabre hanging at my belt...
and 'tis you I love!
Chanson des cueilleuses de lentisques
0 joie de mon ame, joie de mon coeur,
Tr6sor qui m'est si cher;
Toi que j'aime ardemment,
Tu est plus beau qu'un ange.
0 lorsque tu parais, ange si doux,
Devant nos yeux,
Comme un bel ange blond,
Sous le clair soleil,
He'las, tous nos pauvres coeurs soupirent!
Tout gai!
Tout gai,
Ha, tout gai,
Belle jambe, tireli, qui danse,
Belle jambe, la vaisselle danse,
Tra la-la-la-la.
O joy of my soul, joy of my heart,
treasure so precious to me;
thou, whom I love ardently,
thou, more handsome than an angel.
When thou appearest, angel so sweet,
before our eyes,
like a beautiful blonde angel
in the bright sunlight,
alas, all our poor hearts sigh!
Very merrily,
ah, very merrily!
Beautiful legs, tireli, dancing,
beautiful legs, even the dishes dance,
Tra la-la-la-la.
"Cara sposa,"
from Rinaldo
(G. Rossi)
George Frederic Handel
Cara sposa, amante cara, dove sei Deh! ritorna a pianti miei! Del vostro Erebo sull'ara, colla face del mio sdegno, io vi sfido, o spirto rei!
"Furibondo spira il vento,"
from Partenope
(adapted from Stampiglia) Handel
Furibondo spira il vento e sconvolge il cielo e il suol. Tal adesso Talma io sento agitata dal mio duol.
Beloved, O dearest love, where are you now
Ah, return to my tears!
On the altars of your Erebus,
with the torch of my disdain,
I defy ye, O evil spirits!
The winds blow furiously, and stir heaven and earth. That is how my soul feels, agitated by my sorrow.
(James Purdy) Richard Hundley
Waterbird, waterbird, gently afloat, Know you my yearning for places remote, Waterbird, waterbird, under the sea Keep you a kingdom for sleepers like me, Keep you a kingdom for sleepers like me.
Sweet Suffolk Owl (Anonymous) Hundley
Sweet Suffolk Owl, so trimly dight With feathers like a lady bright, Thou singest alone, sitting by night, Te whit, te whoo! Te whit, te whoo!
The note, that fort so freely rolls, With shrill command the mouse controls; And sings a dirge for dying souls, Te whit, te whoo! Te whit, te whoo!
Come Ready and See Me (Purdy) Hundley
Come ready and see me
No matter how late
Come before the years run out.
I'm waiting with a candle
No wind will blow out,
But you must haste on foot or by sky
For no one waits forever
Under the bluest sky
I can't wait forever
For the years are running out.
Seashore Girls
(e.e. cummings) Hundley
maggie and milly and molly and may went down to the beach (to play one day)
and maggie discovered a shell that sang so sweetly she couldn't remember her troubles, and
millie befriended a stranded star whose rays five languid fingers were:
and molly was chased by a horrible thing which raced sideways while blowing bubbles: and
may came home with a smooth round stone as small as a world and as large as alone.
For whatever we lose (like a you or a me) it's always ourselves we find in the sea
Songs from Friday Afternoons, Op. 7
Benjamin Britten
A New Year's Carol (Anonymous)
Here we bring new water from the well
so clear, For to worship God with, this happy
New Year.
Sing levy dew, sing levy dew, the water
and the wine; The seven bright gold wires
and the bugles that do shine. Sing reign of Fair Maid, with gold upon
her toe, Open you the West Door, and turn
the Old Year go.
Sing reign of Fair Maid, with gold upon
her chin, Open you the East Door, and let the
New Year in.
Man from Newington (Anonymous)
There was a man of Newington, And he was wondrous wise, He jump'd into a quickset hedge, And scratch'd out both his eyes.
But when he saw his eyes were out, With all his might and main He jump'd into another hedge, And scratch'd them in again.
Fishing Song
(Izaak Walton)
Oh, the gallant fisher's life,
It is the best of any!
"Pis full of pleasure, void of strife,
And 'tis belov'd of many;
Other joys, are but toys;
Only this lawful is,
For our skill, breeds no ill,
But content and pleasure.
In a morning up we rise, Ere Aurora's peeping, Drink a cup to wash our eyes, Leave the sluggard sleeping; Then we go to and fro, With our knacks at our backs, To such streams, as the Thames, If we have the leisure.
If the sun's excessive heat,
Makes our bodies swelter,
To an osier hedge we get
For friendly shelter;
Where in a dyke, perch or pike,
Roach or dace, we go chase
Bleak or gudgeon, without grudging;
We are still contented.
Folksongs from the British Isles
(Traditional) Arr. Britten
There's none to soothe
There's none to soothe my soul to rest, There's none my load of grief to share Or wake to joy this lonely breast, Or light the gloom of dark despair.
The voice of joy no more can cheer, The look of love no more can warm Since mute for aye's that voice so dear, And closed that eye alone could charm.
Sweet Polly Oliver
As sweet Polly Oliver lay musing in bed, A sudden strange fancy came in to her head. "Nor father nor mother shall make me
false prove, I'll 'list as a soldier, and follow my love."
So early next morning she softly arose, And dressed herself up in her dead
brother's clothes. She cut her hair close, and she stained
her face brown, And went for a soldier to fair London Town.
Then up spoke the sergeant one day
at his drill. "Now who's good for nursing A captain,
he's ill." "I'm ready," said Polly, to nurse him
she's gone, and finds its her true love all wasted
and wan.
The first week the doctor kept shaking
his head, "No nursing, young fellow, can save him,"
he said.
But when Polly Oliver had nursed him
back to life He cried, "You have cherished him as if
you were his wife."
O then Polly Oliver, she burst into tears And told the good doctor her hopes
and her fears
And very shortly after, for better or for worse, The captain took joyfully his pretty
soldier nurse.
0 Waly, Waly
(Cecil Sharp)
The water is wide I cannot get o'er, and neither have I wings to fly. Give me a boat that will carry two, and both shall row, my love and I.
O, down in the meadows the other day, A-gath'ring flowers both fine and gay, A-gath'ring flowers both red and blue,
1 little thought what love can do.
I leaned my back up against some oak Thinking that he was a trusty tree; But first he bended, and then he broke; And so did my false love to me.
A ship there is, and she sails the sea, She's loaded deep as deep can be, But not so deep as the love I'm in: I know not if I sink or swim.
O, love is handsome and love is fine, And love's a jewel while it is new, But when it is old, it groweth cold, and fades like morning dew.
Oliver Cromwell
Oliver Cromwell lay buried and dead,
Hee-haw buried and dead.
There grew an old apple tree over his head,
Hee-haw over his head.
The apples were ripe and ready to fall,
Hee-haw ready to fall.
There came an old woman to gather them all,
Hee-haw gather them all.
Oliver rose and gave her a drop,
Hee-haw gave her a drop.
Which made the old woman go hippety-hop,
Hee-haw hippety-hop.
The saddle and bridle they lie on the shelf,
Hee-haw lie on the shelf.
If you want any more, you can sing it yourself,
Hee-haw sing it yourself.
Countertenor Martin Katz, Piano
and KeyBank
Arr. Arne Dorumsgaard
Franz Shubert
Maurice Ravel
Sunday Afternoon, March 7,1999 at 4:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Early Spanish Songs
Que bien me lo veo
De la vida de este mundo
Pampano verde
Triste estaba el rey David
Con amores, la mi madre
A la caza, sus, a caza
Nacht und Traume
Auf dem Wasser zu singen
Der Tod und das Madchen
Cinq melodies populaires grecques
Chanson de la mariee
La-bas, vers l'eglise
Quel galant m'est comparable
Chanson des cueilleuses de lentisques
Tout gai!
George Frederic Handel
Robert Hundley
Benjamin Britten
Traditional Arr. Britten
"Cara sposa,"
from Rinaldo "Furibondo spira il vento,"
from Partenope
Waterbird Sweet Suffolk Owl Come Ready and See Me Seashore Girls
Songs From Friday Afternoons, Op. 7
New Year's Carol Man from Newington Fishing Song
Folksongs from the British Isles
There's none to soothe Sweet Polly Oliver O Waly, Waly Oliver Cromwell
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Sixty-fourth Performance 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.
This performance is sponsored by KeyBank, with additional support from Linda and Maury Binkow.
Special thanks to Bill Hann for his continued support through KeyBank.
Special thanks to Linda and Maury Binkow for their continued and generous support of the University Musical Society.
Additional support is provided by media partner, WGTE.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
David Daniels appears courtesy of Columbia Artists Management, Inc., New York City.
Large print programs are available upon request.
In astoundingly short order, today's soloist, David Daniels, has virtually redefined the notion of The Countertenor. Much of this is due to the expressive and virtuosic nature of his singing -new standards of range, size, and agility have been recalculated for all in this vocal category. But another portion of this re-definition has to do with Mr. Daniels' resolute refusal to be limited in his choice of repertoire. Whereas in opera those who cast him in various roles must conform to the composer's original inten?tions as much as possible, in concerts such as this afternoon's recital he insists upon presenting himself in the full range of styles available to any singer. Of the six groups on the program today, only two are what might be called "early music." Mr. Daniels consid?ers himself a singing artist first, a coun?tertenor second, and his recital programs always boldly underline this idea.
This afternoon's opening group features Spanish music of the fifteenth and sixteenth centuries. Some are villancicos and have their origin in the songs of the people. Others are romances, adaptations of the bal?lads which Arab troubadours sang as they traveled throughout the country. In a few cases we know composers' names; in most, anonymity prevails. Presenting these gems in a twentieth-century recital format would not be possible without the assistance of arrangements and realizations designed for today's spaces and forces. Thus the arranger, Arne Dorumsgaard, deserves no less credit than does the composer. (This will be the case three times in today's concert -look for striking arrangements by Ravel and Britten later on.) Born in Norway, Dorumsgaard has made it his life's work to
collect, harmonize and arrange antique vocal music of all the European countries. Only three hundred of his two thousand titles have been published, but even this small percentage shows how well an inspired arrangement can evoke the old, fil?tered through the new. Most of these texts concern themselves with courtly, chivalrous love, the notable exception being the power?ful lament of King David on the loss of his son. The singing seems to be free of mea?sures, with melismas describing now pain, now joy. The piano imitates the vihuela, forerunner of the guitar and the lute. Both instruments seem to be improvising...when they are not dancing.
It is not an exaggeration to claim that Schubert invented the lied as we know it today. His more than six hundred songs form the backbone of the German vocal repertoire, and there is no composer in this genre that has not learned from him. From the singer's point of view, Schubert's inex?haustible supply of melody has never been surpassed. For the pianist, the whole notion of what an accompaniment could be was irrevocably and permanently changed. Not content to simply underline and double the voice part, Schubert created brooks, winds, spinning wheels, galloping horses, earth?quakes and trombone choirs for the piano, each enhancing and illustrating facets of the poem only hinted at by the actual text. His frequent use of traditional forms clearly earns him a classicist's label, but his ability to manipulate harmony and mode opened the door to romanticism. Schubert is not to be labelled easily or pigeonholed -he seems to break new ground with each song. Today's group of five songs clearly illustrates this endless variety of inspiration. The first
and last song are exact strophic forms -not a note or rhythm is changed throughout the three verses in each. Seligkeit describes a lusty sort of heaven, but forswears it easily for the earthly heaven of Laura. Aufdem Wasser zu singen offers insightful philosophy and shows Schubert at his watery best; one could call this a vocal barcarolle. Nacht und Trdume is a hushed rhapsodic plea on behalf of all dreamers and a test of the performers' control of breath and dynamics -it has earned its fame. Death and the Maiden offers a whole operatic scene for two charac?ters in just one page. Finally, when song affi-cionados hear the title Adelaide it is certain?ly Beethoven's multi-sectional and very operatic setting which comes to mind. (Actually, Mr. Daniels opened his last recital for UMS with this Beethoven song.) Schubert's setting is vastly different: rever?ent, lyrical, intimate, economical.
Maurice Ravel was obsessed with folk songs from many lands; indeed his arrangements of Italian, Hebrew, Yiddish, Scottish, Danish, Spanish and Greek melodies comprise a third of his vocal compositions. As we listen to our second arranger of this afternoon, we soon realize we are far from the sophisticat?ed world of Sheherazade or La Valse. These texts do not speak of moonlit tombs or veiled Indian princesses. The characters and situations in all the folksongs are elemental and familiar. These five glimpses of Greek culture show us an enthusiastic bridegroom, noble patriotism in the face of defeat, a humorous moment of machismo, field workers chanting to pass the day, and finally the joy of dancing in a typical taverna. Ravel has retained the original tunes but has
clothed them with his characteristic impres?sionistic harmonies. The resulting hybrid is rather like viewing Zorba, the Greek through a watercolor scrim.
As Mr. Daniels' first solo CD will attest, the music of George Frederic Handel is central to the countertenor repertoire. Given the absence of the brightest stars in Handel's operas the castrati -audiences today are accustomed to hearing these heroic arias in either mezzo-soprano or countertenor voic?es. Although Handel was opera's most bril?liant voice throughout his lifetime, his death in 1759 ushered in a period of two centuries during which none of his works saw staged productions anywhere. It is only in the last fifty years, with the advent of singers such as Joan Sutherland, Beverly Sills and Marilyn Home, that these four dozen operas have begun to figure prominently again in sea?sonal rosters of important theatres. The level of expertise demanded by these arias clearly attests to the olympian prowess of singers in Handel's time. There is no other repertoire which requires both expression and virtuosity on this level. The aria from Partenope (1730) features a text which uses howling winds as a metaphor for the agita?tion of the character's emotions. Handel paints this with endless cascades of rapid passagework for the voice, exploiting speed range and agility to the maximum. (Each and every note is doubled in the orchestra, leaving no room for even the slightest imperfection.) By way of contrast is "Cara sposa," from Rinaldo, the only opera to be revived in Handel's lifetime (1715 and 1735). This aria is engendered by the sud?den abduction of the hero's beloved. The virtuosity involved here is an expressive one; the voice is one of five contrapuntal lines
forever weaving, forever lamenting. Handel will continue to occupy Mr. Daniels in the near future: he makes his Metropolitan Opera debut as Sesto in Giulio Cesare next month.
Richard Hundley's name is well known to all lovers of American song. The New York-based composer has penned works in other genres, but it is on song that his reputation rests. Seldom grand, Hundley seems to pre?fer texts which call for heartfelt lyricism, introspection and directness of expression. Rich, flowing, very pianistic accompani?ments support and underline very singable melodies in the voice part. Hundley general?ly selects texts from poets of our own centu?ry (Purdy, Cummings, Joyce, Millay), but will occasionally reach back to Elizabethan times as in today's amusing portrait of an English owl. Hundley has not tried to break new ground compositionally, but he has cer?tainly decorated and enhanced familiar idioms with his own voice.
The last group this afternoon features Benjamin Britten both as composer and our third arranger of the day. A craftsman par excellence, Britten composed in every con?ceivable genre, but it is in texted music that his genius seems most inspired. His operas have become repertory staples in theatres around the world (Turn of the Screw occu?pied this very stage in March 1998), and he is certainly the most important British vocal composer since Henry Purcell three cen?turies earlier. It is not an easy task to make a general statement about Britten's music, for
he used many idioms and forms throughout his life. At his most conservative, he still employs dissonance, polyrhythm and poly-tonality in highly effective ways which are instantly recognizable and give even cus?tomary gestures new excitement and inter?est. Those three devices are clearly evident in all seven of these songs. The first three songs are extracted from his Friday Afternoons, Op. 7, written in the mid-1930s. This set of twelve songs was Britten's first essay in music for children's voices, and it is dedicated to his brother, a schoolmaster, and his choir. Fresh and melodically inventive, this opus sets the stage for his lifelong fasci?nation for the youthful treble sound, both in group and solo settings, for both church and the opera house. It is from Britten's five vol?umes of folksong arrangements that today's last four songs are taken. The complete col?lection includes songs from Ireland, Scotland, France, Wales as well as England. Again, as with the Ravel songs earlier, Britten's manipulation of rhythm, harmony and canonic imitation in the accompani?ment creates new sounds and implications in tunes familiar to us all.
Program notes by Martin Katz.
In the four years since his professional debut, American countertenor David Daniels has become recognized as one of the outstanding artists of our day, winning equal praise in opera, recital and concert. His superlative artistry, magnetic stage presence and a voice of sin?gular warmth and surpassing beauty have
served to redefine his voice category for the modem public. His unique achievement has earned him two of the music world's most significant awards: Musical America's "Vocalist of the Year" for 1999 and the 1997 Richard Tucker Award.
David Daniels' 1998-99 season features his Metropolitan Opera debut as Sesto in Handel's Giulio Cesare, the company's first revival of the work in over a decade. He sings his first recital at Avery Fisher Hall in April. Last January, he debuted with the Canadian Opera Company as Arsamenes in Xerxes in the acclaimed Stephen Wadsworth production. He makes his Italian debut with
the Rome Opera as Oberon in Britten's A Midsummer Night's Dream conducted by Jeffrey Tate before appearing in Paris in Handel's VAllegro, II Penseroso ed il Moderato conducted by John Nelson. The latter will also be recorded by EMI. His sea?son includes recitals at the Salzburg Easter Festival, Munich's Prinzregententheater, the Ravinia Festival and the Edinburgh Festival and concludes with performances of Handel's Saul opposite Bryn Terfel and con?ducted by Sir Charles Mackerras also in Edinburgh.
The 1998-99 season marks the release of three important recordings. His exclusive solo repertoire agreement with VirginEMI is launched with a disc of Handel arias con?ducted by Sir Roger Norrington with the Orchestra of the Age of Enlightenment. Also released are Scarlatti cantatas conducted by McGegan and a complete recording of L'lncoronazione di Poppea on Farao Classics. This was recorded live at the Bavarian State Opera and is conducted by Ivor Bolton.
David Daniels has performed Nerone in L'lncoronazione di Poppea with San Francisco Opera, the Bavarian State Opera, the Glimmerglass Opera Festival, at the Brooklyn Academy of Music and with Florida Grand Opera. A renowned inter?preter of Handel, he has performed Sesto in Giulio Cesare for his debut at the Royal Opera, Covent Garden; Didymus in Theodora at the Glyndebourne Festival; the title role of Tamerlano and Arsace in Partenope at Glimmerglass and Hamor in Jeptha at the Salzburg Festival. He has sung Arsamenes in Xerxes at New York City Opera and at Boston Lyric Opera. His debut at English National Opera was as Oberon in A Midsummer Night's Dream. He has given recitals at London's Wigmore Hall, Lincoln Center's Alice Tully Hall and in Washington, DC and Ann Arbor. He has been heard with the the San Francisco Symphony, St. Louis Symphony, the New World Symphony, with
Boston's Handel and Haydn Society and the Philharmonia Baroque, among others.
A native of Spartanburg, South Carolina, David Daniels is the son of two voice teachers. He began singing as a boy soprano, gradually emerging as a tenor. He attended Cincinnati's College Conservatory of Music and the University of Michigan where he studied with George Shirley. He began singing as a countertenor in 1992. He currently resides in Silver Spring, Maryland.
This appearance marks David Daniels' sixth appearance under UMS auspices including four appearances as countertenor soloist with the UMS Choral Union's presentation of Handel's Messiah.
Martin Katz, heretofore dubbed "dean of accompanists" by The Los Angeles Times, is the first recipient of Musical America's newly created in 1998 "Accompanist of the Year" award. He regularly collaborates in recitals and on records with artists including Marilyn Home, Frederica von Stade, Kiri Te
Kathleen Battle, Cecilia Bartoli and Jose Carreras. Highlights of Mr. Katz's more than thir?ty years of con-certizing with the world's most celebrat?ed vocal soloists include innumerable recitals at
Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala, the Paris Opera
and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, Phillips and Decca labels. The Metropolitan, Houston and Ottawa operas have performed his edi?tions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At the University of Michigan, in addition to over?seeing the various degrees in ensemble for pianists, Mr. Katz coaches singers and teach?es courses in vocal repertoire. He is a fre?quent guest conductor of the School's opera productions.
This afternoon's recital marks Martin Katz's twenty-first appearance under UMS auspices.
James Galway Flute
Phillip Moll, piano
and Parke-Davis
Carl Reinecke, arr. James Galway
Sergei Prokofiev
Jules Mouquet
Paul Taffanel Albert Franz Doppler Francesco Morlacchi
Thursday Evening, March 11,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Sonata for Flute and Piano, Op. 167, "Undine"
Intermezzo: Allegretto, vivace Andante tranqillo, molto vivace Finale: Allegro molto agitato ed appassionato, quasi presto
Sonata in D Major, Op. 94
Moderato Scherzo: Presto Andante Allegro con brio
La Flute de Pan, Op. 15
Pan and the Shepherds Pan and the Birds Pan and the Nymphs
Fantaisie on Themes from Francoise de Rimini Airs Valaques, Op. 10 II pastore svizzero
Sixty-fifth Performance of the 120th Season
120th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Dr. Ronnie Cresswell for his continued and generous support of the University Musical Society both personally, and through Parke-Davis.
Additional support is provided by media partner, WGTE.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Mr. Galway appears by arrangement with IMG Artists.
Mr. Galway records exclusively for BMG ClassicsRCA Victor, RCA Victor Red Seal.
Large print programs are available upon request.
Sonata for Flute and Piano, Op. 167, "Undine"
Carl Reinecke
Born June 23, 1824 in Altona, Denmark
(later Germany) Died March 10, 1910 in Leipzig
Carl Reinecke was one of the romantic com?posers who was musically active toward the end of the nineteenth century. Making his concert debut as a pianist at the age of twelve at the Danish court, Carl Reinecke would work as a pianist, conductor, com?poser, teacher and administrator primarily in Denmark and Germany. After securing additional study in Leipzig and holding musical posts in Copenhagen, Paris, Cologne, Barmen and Breslau, he succeeded Mendelssohn in 1860 as conductor of the famed Gewandhaus Orchestra in Leipzig, a post he would hold for thirty-five years before being succeeded by Nikisch. During this period, Reinecke taught piano and com?position at the Leipzig Conservatory, eventu?ally becoming the school's director until his retirement in 1902. He is said to have been excellent, both as a conductor and pianist, and is known to have championed Mozart's works in performance.
Reinecke was personal friends with composers such as Schumann, Mendelssohn, Liszt, and Brahms, and found himself being influenced by their musical styles. He is best known for his numerous piano composi?tions, but also wrote four operas, an oratorio, masses and other works for choir and orchestra, three symphonies, four piano concertos, and a large volume of chamber and vocal music.
The Sonata for Flute and Piano, Op. 167, composed in the mid-1880s, is subtitled "Undine." Reinecke carefully crafted an equal duo partnership for the flute and piano, taking as his inspiration the legend, recounted by the romantic writer Friedrich la Motte-Fouque, of the water nymph
Undine, who falls in love with a mortal and is granted a human soul. When the mortal deceives her, Undine is snatched back into the waters and returns only to kill him with a kiss. Reinecke was familiar with the Undine legend, but in no way does the Sonata tell the story in a programmatic manner. Instead, Reinecke suggests the gen?eral mood of the work: the watery ripples in the piano part and the lyrical Undine-like interlude in the "Intermezzo" which reap?pears in the "Finale."
The strength of this four-movement work showcases Reinecke's best qualities as a composer: a romantic style where the har?mony is chromatic without being excessive, melodic lines which display the potential of the solo instrument, and a well-crafted clas?sical sonata in its overall formal structure. In the first edition, Reinecke indicated that the Sonata could be played by flute, clarinet or violin, but the solo writing is most idiomatically tailored to the flute.
While Brahms was writing his fine chamber compositions for strings, Reinecke was writing exceptional chamber music for orchestral winds. His wind sextet and wind octet represent some of the best writing for that genre. His predisposition to write for the flute is further evidenced in his flute concerto (a late composition) and a set of cadenzas composed for Mozart's flute and harp concerto.
Sonata in D Major, Op. 94
Sergei Prokofiev
Born April 23, 1891 in Sontsovka, Ukraine
Died March 5, 1953 in Moscow
Sergei Prokofiev, the Russian composer and pianist, established himself as a composer of ironic, often willful and unconventional music in the last years of tsarist Russia. After the Revolution he lived in the United States (1918-22) and then in Paris (1922-36). His
compositional style during these years grad?ually became smoother and more settled. The last seventeen years of his life were spent in the USSR, both inspired and restricted by Stalin's cultural policies. Prokofiev spent eight years during World War II partly in evacuation, leaving Moscow in the summer of 1941 to avoid the worst dangers of the German invasion. He spent time in the Caucasus, in Georgia, in Alma-Ata, Kazakhstan, and in the Ural mountains. During this time, he worked on various pro?jects including his flute sonata.
His only work for flute, the Sonata in D Major, Op. 94 premiered in Moscow in 1943. It was composed in a traditional neo?classical format, with movements in sonata, rondo, and ternary form, respectively. The first movement is built around two great alternating themes, with the eventual addi?tion of a third theme. The second and third movements are similar in style to the Prokofiev found in the "Classical" Symphony and contain highly elaborate rhythms. The "Allegro con brio" is con?structed around a theme that is reminiscent of a Russian folk dance, which the composer has transformed and adapted for instru?mental use in the sonata form.
The instant success of the flute sonata led Prokofiev to transcribe it in 1944 for David Oistrach to play on the violin. It is a bright and playful composition that remains an important work in the flute repertoire.
La Flute de Pan, Op. 15
Jules Mouquet
Born July 10, 1867 in Paris
Died October 25,1946 in Paris
The French composer Jules Mouquet stud?ied harmony and composition at the Paris Conservatory. He eventually became profes?sor of harmony at the Conservatory starting in 1913.
During the nineteenth century there was an artistic preoccupation with nature. The flute's connections to a pastoral world appealed to composers of many nationali?ties. In Paris, ancient Greece was a favorite subject in the salons of the early 1900s, and along with many other French composers at the turn of the century, Mouquet turned to subjects from Greek mythology.
Mouquet was inspired by the mytho?logical stories of the ancient Greek god Pan, who was part man and part goat -having the horns, ears, and legs of a goat and the upper torso of a man. Pan was god of the forest and shepherds, living in the hills and mountains in Arcadia in the center of southern Greece along with mortals and nymphs. He lived the life of a herdsman and shepherd, looking after his sheep and goats. At night, he often joined the nymphs of the woods and the hills in their revels.
Pan was known as one of the wilder Greek gods who wooed many nymphs. Among them was Syrinx, who fled from his pursuits in horror to the banks of the river Ladon and turned into a reed to escape him. Unable to single her out among the reeds, Pan cut a number of them and from these made the pipes of different lengths by which he is known for to this day, the panpipes. His great skill in playing these pipes is leg?endary.
Mouquet composed La Flute de Pan originally for flute and orchestra, arranging a flute and piano version titled Sonata for Flute and Piano, Op. 15. Within the sonata's three movements, the goat-footed Pan shows his fondness for the sweet pastoral life, spending his days among the shepherds and the birds and his nights indulging in dance and other pleasures with the nymphs of the waters and woods.
Fantaisie on Themes from
Francoise de Rimini
Paul Taffanel
Born September 16, 1844 in Bordeaux
Died November 22, 1908 in Paris
Paul Taffanel, French flutist and conductor, was arguably the most important flutist of the nineteenth century. He took the Paris Conservatory's first prize in flute (1860), theory (1862), and counterpoint (1865) and joined the wind faculty in 1893 after a dis?tinguished twenty-five year performing career as an orchestral and solo flutist. He was principal flutist and later conductor at the Opera and the Societe des Concerts du Conservatoire (later Orchestra de Paris). His numerous European concert tours were influential in raising the standards for woodwind playing throughout Europe. As a flutist, Taffanel was without peer. His famous student Georges Barrere described him in this way:
Taffanel was not only the best flutist in Europe... quality as well as quantity of tone and fine technique were only a small part of his splendid characteristics as a flute player. He loathed cheap sentimentality, excessive expression, endless vibrato... the cheap tricks which are as undignified as they are unmusical.
When he took over as flute professor at the Paris Conservatory in 1893, he caused a near revolution in teaching. Retaining the traditional masterclass format, he individu?alized his instruction so that each student could work at his own level. He commis?sioned a series of new flute pieces by some of the finest French composers of the day for the annual performing examination known as the concours. Compositions by Faure, Enesco, Chaminade, Gaubert, and other fine French composers set a new stan?dard in the flute repertoire. His famous flute
method (with Philippe Gaubert) continues to be a valuable pedagogical work to this day.
As a conductor, Taffanel did much to champion the revival of works by Bach, Beethoven and Mozart. He also used his influence to establish interest in woodwind music by founding a woodwind chamber society, commissioning new woodwind chamber works, and composing an excellent woodwind quintet of his own.
Most of Taffanel's own compositions are typical salon or contours pieces of the time. The fantasias he composed for flute and piano based on opera themes on Mignon, Der Freischutz, Jean de Nivelle, and Francoise de Rimini were some of his earliest compositions.
His Fantaisie on Themes from Francoise de Rimini, composed in 1884, is based on Ambroise Thomas' grand opera of the same name. Taffanel based the Fantaisie on instrumental sections of the score -the Prologue and three dances from the Act III ballet music: Adagio, Saltarelle and Sevillana -recognizing that these sections contained some of the strongest lyrical material in the opera.
As a composer, Taffanel represented the last phase of the French romantic flute tra?dition. As a flutist and teacher, however, he initiated a new golden era. The flute shed its birdlike reputation and became an instru?ment worthy of serious attention.
Airs Valaques, Op. 10
Albert Franz Doppler
Born October 16, 1821 in Lemberg, Poland
Died July 27, 1883 in Baden near Vienna
The teenage brothers Franz and Karl Doppler were the most celebrated flute duo touring in mid-nineteenth-century Europe. They were from a family of Polish, Hungarian, and Austrian origins. As per-
formers, they were known for their expres?sive tone and perfect ensemble playing even in the most difficult passages. It has been written that Karl could play the flute held pointing to the left, something which aroused special attention when the brothers performed together. They often performed their own virtuosic compositions written for two flutes.
Both brothers went on to distinguished careers as composers and conductors. From 1847-58 Franz was first flute in the Pest Opera Orchestra (later Budapest), and in 1858 at the Vienna Opera, where he was also conductor of the ballet. From 1865 on he was professor of flute at the Vienna Conservatory.
Franz wrote six operas, fifteen ballets and many compositions for solo flute and for two flutes in collaboration with Karl. His compositions combine Italian, Russian, Polish and Hungarian stylistic features. National derivations are often specified in the titles of their works.
His composition Airs Valaques, Op. 10 for flute and piano is based on folk melodies from the Walachia region in what today is southern Romania. This area, which borders Moldavia and Transylvania, has a rich folk music and dance tradition.
II pastore svizzero
Francesco Morlacchi
Born June 14, 1784 in Perugia, Italy
Died October 28,1841 in Innsbruck
The Italian composer Francesco Morlacchi studied under his father in Perugia and later in Bologna. He composed a cantata for the coronation of Napoleon as King of Italy in Milan in 1805, and wrote seven operas by 1810. At that time he was engaged as perma?nent conductor of the Dresden Italian Opera in Germany, a post he held for over thirty years until his death.
Morlacchi composed a great number of operas, church music, songs, chants and instrumental works. He excelled at conduct?ing and was a versatile performer on a vari?ety of instruments: the violin, piano, clar?inet, bassoon, horn, cello and flute.
Ilpastore svizzero (The Swiss Shepherd) is a set of fantasy variations on several themes of Swiss character, alternating musical cantabile phrases with virtuoso technical acrobatics.
Program notes by Dr. Penelope Peterson Fischer.
Flutist James Galway is internation?ally regarded as both a matchless interpreter of the classical reper?toire and a consummate entertain?er whose charismatic appeal cross?es all musical boundaries. His unique sound, superb musicianship, and dazzling virtuosity have made him one of the most respected and sought-after performing artists of our time. Through his extensive tours, numerous best-selling RCA Victor Red Seal and RCA Victor recordings and videos, and frequent television appearances, he has reached vast and diverse audiences world-wide, creating enthusiastic new fans for classical music. Mr. Galway's varied repertoire ranges from Bach, Vivaldi and Mozart to contemporary music, jazz and Irish folk melodies. In addition, he contin?ues to broaden the flute literature through his many commissions of works by contem?porary composers, and by incorporating these new works into his regular concert programs in seasons following the premiere. In recognition of these accomplishments, James Galway was named the 1997 "Musician of the Year" by Musical America. Mr. Galway continues to circle the globe annually, keeping his artistry fresh with a mixture of recitals, concerto appearances, chamber music, and master classes. Most recently, Mr. Galway has taken up the baton, and in addition to numerous perform?ingconducting engagements around the world, he has been named Principal Guest Conductor of the London Mozart Players.
Mr. Galway began his 1998-99 US concert season with a twenty-city chamber music tour, highlighted by performances at New York City's Carnegie Hall, San Francisco's Davies Symphony Hall, Chicago's Orchestra Hall, Boston's Symphony Hall and the Kennedy Center for the Performing Arts in Washington, DC. Mr. Galway will be accompanied on this tour, which features music of Bach and other Baroque com-
posers, by acclaimed pianistharpsichordist Phillip Moll, gambist Sarah Cunningham, Baroque violinist Monica Huggett, and fel?low flutist (and wife) Jeanne Galway.
RCA launched two new recordings by James Galway in autumn 1998. The first disc is a much-anticipated second collaboration with award-winning Irish recording artist, Phil Coulter, entitled Winter's Crossing. This album features a special narration by Oscar-nominated actor, Liam Neeson. It has a unique blend of Celtic melodies with original compositions for flute and piano, inspired by the profound bravery of the Irish immigrants who first sailed to America. The release of Winter's Crossing follows the success of Mr. Galway and Mr. Coulter's 1997 debut effort, Legends (RCA Victor), which spent a total of twenty-nine weeks in the Top Five of Billboard's World Music Chart. The second release is a debut recording of three commissioned concertos, written especially for Mr. Galway by young American composer, Lowell Liebermann. The album, entitled James Galway Plays Lowell Liebermann, will include the first concert recording ever of both The Concerto for Flute and Orchestra and The Concerto for Flute, Harp and Orchestra.
Mr. Galway has the distinction of being one of the first classical artists to release an enhanced CD, which features a two-CD set of music from his classical and crossover reper?toire, and a CD-Rom portion for personal computer that includes video segments of him at home, conversations about his profes?sional and personal life, a brief interactive interview, and an extensive discography.
From the outset of his career, James Galway has dazzled viewers young and old with his virtuosity and his engaging person?ality through appearances on such television programs as the Tonight Show, the Today Show, Good Morning America, CBS This Morning, Live with Regis and Kathie Lee, Sesame Street, and PBS's Live from Lincoln
Center, and as host of his own holiday spe?cials.
Equally important as Mr. Galway's extensive performing and recording activi?ties is his continuing quest to enrich the repertoire of his instrument. Breaking new ground, he has transcribed numerous works originally composed for other instruments, and has commissioned works from distin?guished contemporary composers such as Lorin Maazel, Lowell Liebermann, William Bolcom, John Corigliano, Marc Neikrug, Joaquin Rodrigo, Thea Musgrave and oth?ers.
James Galway was born in Belfast, Northern Ireland. After mastering the penny whistle, he began serious training on the flute, winning three top prizes at a local competition at age twelve. He continued his
studies at London's Royal College of Music and Guildhall School, the Paris Conservatoire and with famed flutist Marcel Moyse. A series of positions with leading British orchestras culminated in his appointment as Principal Flute of the Berlin Philharmonic under Herbert von Karajan in 1969. After six years, Mr. Galway decided to establish a solo career, and within a year, had recorded his first four RCA LPs, played more than 120 concerts, and appeared as a soloist with London's four major orchestras. In 1979, he was awarded the Order of the British Empire by Her Majesty Queen Elizabeth II for his musical contribution to society.
Tonight's recital marks James Galway's eleventh appearance under UMS auspices.
As a partner and accompanist for such celebrated artists as James Galway, Kyung Wha Chung, Anne Sophie Mutter, Jessye Norman and Margaret Price, Phillip Moll has performed in many of the world's most important concert and recital halls. He has also won critical praise as a soloist. Born in Chicago in 1943, Mr. Moll received his first instruction in piano and violin from his father, a violinist with the Chicago Symphony Orchestra. He was awarded his Bachelor of Arts degree in English literature from Harvard University, but continued his study of music throughout his university years. Among his teachers were Alexander Tcherepnin, Claude Frank and Leonard Shure. At the University of Texas, where he earned his Master of Music degree, Mr. Moll became a teaching assistant in the opera workshop. He spent one year in Munich on a grant from the German government.
Phillip Moll was a member of the coaching staff of the Deutsche Oper Berlin for eight years beginning in 1970 and became increasingly active during this time as a soloist and accompanist. His collabora?tion with James Galway began in 1975.
Mr. Moll records and performs fre?quently as ensemble pianist and harpsi?chordist with the Berlin Philharmonic Orchestra and plays in a trio and a four-teen-member ensemble with instrumental?ists from the Philharmonic. As a soloist, he has played with the Berlin Philharmonic, the Philharmonic Chamber Music Collegium Berlin, the English Chamber Orchestra, the Orchestra of St. John's Smith Square, and with major Australian orches?tras. He has toured extensively throughout Europe and North America, the Far East, Australia and Africa. Mr. Moll has also con?ducted opera in Japan.
Mr. Moll has recorded for BMG, Capriccio, Decca, Denon, Deutsche Grammophon, EMI, Koch International, Philips, Schwann, Summit and Tacet.
Tonight's recital marks Phillip Moll's fourth appearance under UMS auspices.
Abbey Lincoln
Miller Canfield
Friday Evening, March 12, 1999 at 8:00 Michigan Theater, Ann Arbor, Michigan
Ms. Lincoln will announce tonights program from the stage.
Sixty-sixth Performance 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.
Special thanks to Miller Canfield for its generous support of the University Musical Society.
Additional support is provided by media partner, WEMU.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Born Anna Marie Woolridge in Chicago, Illinois, the tenth of twelve children, Abbey Lincoln grew up on a farm in Calvin Center, Michigan. At the age of five she could pick out melodies on the piano and eventually learned to accompany herself and sing. Ms. Lincoln's first profes?sional job took place in the basement of a church, which was staged as a cabaret set?ting.
As a singer in Los Angeles clubs in the 1950s, she allowed the producers at the famous Moulin Rouge to change her name to Gaby Woolridge. Her first mentor, the brilliant lyricist and songwriter Bob Russell, later named her Abbey Lincoln after the six?teenth president, saying, "Old Abe didn't really free the slaves, but maybe you can." Russell produced her first recording in 1955, Affair-A Story of a Girl in Love, with Benny Carter and Marty Paitch, and was instru?mental in securing Ms. Lincoln a featured performance in the 1956 Jayne Mansfield film The Girl Can't Help It (wearing the same dress worn by Marilyn Monroe in Gentlemen Prefer Blondes).
In 1957, Ms. Lincoln began a musical collaboration with drummer Max Roach, to whom she was married from 1962-70. He brought her to Riverside Records, where she recorded That's Him, Abbey's Blue, and It's Magic. In 1961, she was featured on the famous Max Roach recording Freedom Now Suite.
In the 1960s, Abbey Lincoln became involved in the civil rights movement and she began writing some of her own materi?al, often full of social and political com?ment. Lincoln was featured in two major motion pictures as the female lead: Nothing But a Man, a true-to-life drama of black family life; and For Love of Ivy, with Sidney Poitier, Carroll O'Connor and Beau Bridges.
In 1989, Jean-Phillippe Allard invited her to record for Polygram France. Her recording and performing career moved into a higher gear, producing what most observers agree is the finest work of her career. She has recorded seven albums with Verve, including her new release Wholly Earth.
In addition to singing, songwriting, and acting, Ms. Lincoln is a storyteller par excel?lence and lectures at schools and universi?ties. She has taught theatre for one year at the California State University at Northridge. Because of her deep concern for the poor and disadvantaged, Ms. Lincoln has been awarded numerous civic and community awards.
Tonight's performance marks Abbey Lincoln's debut appearance under UMS auspices.
Takacs Quartet
Edward Dusinberre, Violin Karoly Schranz, Violin Roger Tapping, Viola Andras Fejer, Cello
Joseph Haydn
Bela Bartdk
Antonin Dvofdk
Thursday Evening, March 18, 1999 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet in G Major, Op. 77, No. 1
Allegro moderato Adagio
Menuet: Presto Finale: Presto
String Quartet No. 3 (Sz 85)
Prima parte: Moderato
Seconda parte: Allegro
Ricapitulazione della prima parte: Moderato
Coda: Allegro molto
String Quartet in E-flat Major, Op. 51, No. 10
Allegro ma non troppo
Dumka (Elegia): Andante con moto -Vivace
Romanza: Andante con moto
Finale: Allegro assai
Sixty-seventh Performance 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.
The Takacs Quartet records exclusively for London Records.
The Takacs Quartet appears by arrangement with CramerMarder Artists.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and the Barbican in London.
Large print programs are available upon request.
String Quartet in G Major, Op. 77, No. 1
Joseph Haydn
Born March 31,1732 in Rohrau,
Lower Austria Died May 31, 1809 in Vienna
In 1799, two years after completing his cele?brated series of six string quartets for Count Erdody (Op. 76), Haydn started work on yet another set, this time for Prince Lobkowitz. He only completed two of the six, however. (One contemporary document, perhaps mistakenly, suggests that he had completed four; if so, two works must have been destroyed.)
Around the same time Haydn was working on string quartets for Lobkowitz, a younger composer by the name of Ludwig van Beethoven was doing the very same thing. Beethoven completed his set of six string quartets (later published as Op. 18) in the spring of 1800. It may well be that Haydn withdrew from his project at least in part because of the arrival on the scene of the unruly young genius. Haydn used to call Beethoven, his rebellious erstwhile student, the "Grand Mogul," in a mocking reference to the younger man's boundless ambition, though he was the first to recognize Beethoven's exceptional talent. Yet it seems that around the time of Haydn's Op. 77 and Beethoven's Op. 18 the relationship between the two composers was far from ideal. The least one can say of the two quartets of Op. 77 -which are exactly 200-years old this year -is that the sixty-seven-year-old Haydn rose to his younger colleague's chal?lenge. Some moments in the two works have even been said to resemble echoes or reflections of what we now call "early" Beethoven.
The first of the two quartets, in G Major, opens with an "Allegro moderato" that fills out its regular sonata-form scheme with many subtle suprises and delicate
touches. The cheerful, march-like first theme, for instance, is almost immediately overshadowed by harmonies suggesting the minor mode. For a movement that began in such an unassuming way, the development section gets extremely agitated at times, though it also includes one of Haydn's favorite audience-fooling devices, the "false recapitulation," in which the main theme returns in the home key, only to disappear again after a few measures to make room for more development material.
The second movement is in E-flat Major, a tonality rather far removed from the original key of G Major. (In his later years, he became increasingly fond of such tonal juxtapositions, which create a quite audible jolt between movements.) It is one of Haydn's greatest Adagios, with themes of a rich singing quality and a harmonic range that is sometimes reminiscent of Beethoven. The first violin part adds elaborate orna?ments to the highly expressive melodies.
The third movement ("Minuet and Trio") is even more "Beethovenian." Many of the movement's features are most unusu?al for Haydn and announce a new era. The tempo is extremely fast for a minuet (Presto). Off-beat accents abound in the theme. Almost all the repeats are written out (instead of being indicated by repeat signs), and important changes are introduced the second time. The first violin reaches high notes unheard of in the earlier quartet repertoire. No clear separation exists between minuet and trio; the trio arrives without warning by means of an unexpect?ed jump into the key of E-flat Major, visit?ing that remote tonality for the second time in the quartet. The ending of this highly dramatic trio is left open, as the music grad?ually modulates back to G Major. Quite an astonishing movement!
The following "Presto" is Haydn's last word on the contradanse finale, one of his favorite finale types for decades. The main
theme is presented twice at the beginning: the first time in unison and then with har?monies. This duality of simplicity and sophistication remains the principal driving force throughout the movement, right up to the ending, for which Haydn saved some delicious surprises.
String Quartet No. 3 (Sz 85)
Bela Bartdk
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare,
Romania) Died September 26,1945 in New York
Whenever Bela Bart6k was asked to com?ment on his own music, he preferred to address only one aspect of it: the relation?ship between his compositions and folk music. A leading expert in the then-new dis?cipline of ethnomusicology, Bartok had col?lected, notated and analyzed thousands of melodies of Hungarian, Romanian, and Slovak origin, and quite a few from other ethnic groups. The influence of these melodies was easy to see in the arrange?ments and straightforward folksong imita?tions found in many of Bartok's works. Yet the composer maintained that all his works had folk music as their basis, even, he stressed, the string quartets, "except their setting is stricter."
This statement has puzzled quite a few commentators who saw in the six quartets (especially Nos. 3 and 4) the acme of Bartok's modernism. In fact, it may well be that at first hearing, the listener's attention is engaged by the highly advanced harmonic and rhythmic idiom. Yet the folk-music influence is never too far from the surface. For all its "modernity," the String Quartet No. 3 is full of references (sometimes veiled, sometimes more overt) to Hungarian folk music. Bart6k's strategy consists in using only one parameter of his folk sources at a
time: he will either quote a typical penta-tonic cadence from Hungarian folk music (G-C-A) without the rest of the tune, or use a symmetrical melodic structure derived from folk music but filled out by markedly non-folkloric pitch material. In this way, the traditional and non-traditional elements of his style are fused in a seamless unity.
The String Quartet No. 3 is in a single movement but is divided into four clearly demarcated segments. A slow Prima parte and a fast Seconda parte are followed by a varied recapitulation of Part I and a "Coda" based on Part II. The Prima parte is a mas?terful example of organic growth: a com?plex and variegated movement arises from two or three tiny motifs that are themselves interrelated. One of the most important moments comes at the end of the section, where these tiny motifs coalesce into a long, pentatonic musical phrase (played by the second violin and the viola). The Seconda
parte brings together a string of themes in var?ious dance meters, both symmetrical and asymmetrical. The dance becomes more and more excit?ed; the themes are developed in contrapuntal imitation, almost
as it the dancers tripped over one another. The end of the section was best character?ized by Janos Karpati in his book Bartok's Chamber Music (Pendragon Press: Stuyvesant, NY, 1994): "The composer's 'scalpel' continues to strip off the thematic and motivic layers -penetrating right down to the 'skeleton' of the themes." This is followed by the return of the slow tempo (Ricapitulazione della prima parte) in which
the short motifs of the work's opening are reconfigured to form a completely new musical entity. Finally, the "Coda" presents the main thematic material of the Seconda Parte in a condensed version, culminating in a climactic ending.
String Quartet in E-flat Major, Op. 51
Antonin Dvorak
Born September 8, 1841 in Nelahozeves,
Bohemia (now Czech Republic) Died May 1, 1904 in Prague
Antonin Dvorak was never one to wrestle with Fate like his much-admired fellow Slav, Piotr Tchaikovsky; nor did he feel he had to carry the entire history of music on his shoulders like his mentor Johannes Brahms. This fact has led to a one-sided evaluation of Dvorak as an easygoing "Bohemian musi?cian" who lacked the depth of some of his contemporaries. The truth is more com?plex, however. In fact, if Dvorak had done no more than express the soul of his native country in works that combined the best classical tradition with beautiful melodies of a distinctive Czech flavor, his accomplish?ment would be considerable. Yet he did far more. The uniqueness of his approach lies certainly, to some extent at least, in intro?ducing the voice of his nation to the inter?national music world from Vienna to London and New York. But his own person?al voice also rings loud and clear, proving that even after Beethoven and Wagner, it was possible to create great music that wasn't tragic and heaven-storming. In any event, who other than Brahms produced a body of chamber music in Central Europe in the second half of the nineteenth century that is comparable to Dvorak's both in quantity and quality
The String Quartet in E-flat Major was written at the time when Dvorak was just beginning to be known beyond the bound?aries of Bohemia. The composer obviously tried to make the most of the widespread interest in the Bohemian manner, an inter?est he had sparked with his wildly successful Slavonic Dances and Rhapsodies. The Florence Quartet, led by Jean Becker, had requested a specifically Slavonic work, and Dvorak was happy to oblige.
Still, we would do less than justice to this beautiful composition if all we saw were the "Bohemianisms," which were much less effective without Dvorak's virtuosic han?dling of the string-quartet texture. It is listed as No. 10 in the catalog, but the earlier quartets have all remained little known, which almost makes it appear as if the mas?tery of Op. 51 had no precedent in the com?poser's oeuvre. At any rate, the inventive, ever-changing harmonic and contrapuntal elaborations are every bit as important here as the "Slavonic" melodies.
Those elaborations are rather intricate in the opening "Allegro ma non troppo." There is a similarity between the rhythmic shapes of the two principal themes, which are close enough to preserve a unity of tone but diverse enough to avoid monotony. In the development section, both themes are memorably combined when the first melody is played "in slow motion" while a variant of the second is heard at the original speed. And that is only one of the myriad subtle tricks Dvorak plays in this remarkable movement.
The second movement, "Andante con moto," proclaims its Slavic origins in its title "Dumka" -one of many instances where Dvorak alluded to this melancholy song type whose various forms are at home in several Slavic countries. The subtitle "Elegy," expresses the same idea in terms that would be more familiar to non-Slavic audiences. The plaintive minor-key melody, played in
alternation by the first violin and the viola, gives way to a middle section in a fast tempo ("Vivace"), evoking the typical rhythm of the Czech furiant (mixing "one-two-three, one-two-three" with "one-two, one-two, one-two"). After this lively folk dance, the durrika returns. Its sad mood seems to rub off on the furiant as well, for the fast dance returns a second time in minor instead of major. Also, the tempo becomes gradually slower and slower until the final measures restore the "Vivace."
The third-movement "Romanza" is based on a single, peaceful melody in B-flat Major that visits other keys but for the most part projects a feeling of stasis, a respite after two movements that were constantly on the move.
The last movement is an undisguised folk dance (its model was the skocnd or leaping dance). Its engaging main theme is taken up later as the starting point for a brilliant fugato. The second theme is distin?guished by its slightly slower tempo, con?trasting with the Piii allegro (faster than Tempo I) of the quartet's final measures.
Program notes by Peter Laki.
The Takacs Quartet is today recog?nized as one of the world's leading string quartets. Since its formation in 1975, the ensemble has appeared regularly in every major music capital and prestigious festival. Since 1983 the quartet has held a Residency at the University of Colorado at Boulder, and its members were given permanent faculty appointments there in 1986. Since the 1988-89 season, the Quartet has also been teach?ing and performing as Quartet-in-Residence at the Barbican Center and the Guildhall School of Music in London.
In early 1998, LondonDecca Records released the Takacs Quartet's recording of the Bartok cycle, which they performed in May, 1998 at the Freer Gallery in Washington DC, and will perform again at UC Berkeley in September, 1999; and in New York's Alice Tully Hall in January, 2000. The Bartok cycle recording has received unanimously stellar reviews worldwide; in October, 1998 it received the Gramophone "Chamber Music Recording of the Year" Award, and in January, 1999 it was nominat?ed for a Grammy. During the summer of 1998 they opened the Mostly Mozart Festival's Haydn Quartet Cycle with five concerts in New York City, and will return to perform at the 1999 Festival, this time in Avery Fisher Hall. The Takacs Quartet has been named a Quartet-in-Residence at the Aspen Festival, and every summer will return there for a week. Summer, 1999 also will include concerts at the Gstaad Festival and the Luberon Festival in France.
During the current season the Takacs Quartet performs over fifty concerts in the US, tours extensively in Europe, and returns to Australia, New Zealand, Japan and South America. The Takacs Quartet's latest record?ing release for London Records, with which they signed an exclusive recording contract
in 1988, includes the Schubert "Trout" Quintet with Andreas Haefliger, piano. Their next CD, to be released in 1999, includes Dvorak's String Quartet Op. 51 and Dvorak's Piano Quintet Op. 81, also with Andreas Haefliger. In 2000, the first install?ment of a complete Beethoven cycle record?ing is to be released, of String Quartet Op. 59, nos. 2 and 3. The ensemble's discography includes Schubert's String Quartet in G Major (named "Top Classical CD of the Year 1997" by the London Sunday Times), Schubert's Piano Trio in E-flat Major, a disc of quartets by Smetana and Borodin; Haydn's Op. 76, 77 and 103 quartets; the three Brahms quartets and Piano Quintet in f minor with Andras Schiff; Chausson's Concerto for Violin, Piano, and String Quartet with Joshua Bell and Jean-Yves Thibaudet; Mozart's String Quintets, K. 515 and 516 with Gyorgy Pauk; and Schubert's Quartettsatz, Rosamunde, and Death and the Maiden.
Recent Takacs seasons have included Bartok cycles in London, Madrid and Seville; Schubert cycles in London, Lisbon, Utrecht and Spain; and a Brahms cycle in London. The Quartet has performed Beethoven cycles in Paris, London, Zurich, Sydney, New York (1990-91), is doing so currently at Middlebury College in Vermont, and performed numerous con?certs surrounding the Mozart anniversary year in 1991. During the summer of 1993, the Quartet gave a cycle of three concerts at the Salzburg Festival featuring the quartets of Bartok and Brahms. Important American engagements have included the Quartet's 1989 Lincoln Center deburt on the Great Performers Series; two concerts encompass?ing all of Bartok's string quartets in 1990 at the 92nd Street Y; and a six-concert Haydn Festival, with pianist Andras Schiff, at the Metropolitan Museum in New York and at Wigmore Hall in London in 1991. The Quartet made its Carnegie Hall debut in 1992.
The Takacs Quartet was formed by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai and Andras Fejer in 1975, while all four were students at Budapest's Liszt Academy. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competititon in Evian, France. Thereafter, the Takacs won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition (1978) and the Bratislava Competition (1981). The Takacs Quartet made its North American debut tour in 1982.
Tonight's performance marks the Takacs Quartet's second appearance under UMS aus?pices.
Alvin AlleyO American Dance Theater
Artistic Director JUDITH JAMISON
Associate Artistic Director MASAZUMI CHAYA
Forest Health Services
Company Members
Guillermo Asca, Lynn Barre, Mucuy Bolles, Kevin E. Boseman, Linda Caceres, Michelle Cesene Baker, Linda-Denise Evans, Edward Franklin, Bernard Gaddis, Jeffrey Gerodias, Vernard J. Gilmore, Christina Angela Gonzales, Venus Hall, Lisa Johnson, Amos J. Machanic, Jr., Krisha Marcano, Benoit-Swan Pouffer, Troy O'Neil Powell, Briana Reed, Renee Robinson, Matthew Rushing, Uri Sands, Solange Sandy Groves, Bahiyah Sayyed, Glenn A. Sims, Dwana Adiaha Smallwood, Kristofer Storey, Askia Swift, Desiree Vlad, Richard Witter, and Dudley Williams
Friday Evening, March 19,1999 at 8:00 Power Center, Ann Arbor, Michigan
Ailey Classics
Memoria (1979) (Excerpts)
"Night Creature,"
from Alley Celebrates Ellington (1974) (Excerpts)
Pas de Duke (1976) (Excerpt) The Mooche (1975) (Excerpt)
Opus McShann (1988) (Excerpts)
'A Song For You,"
from Love Songs (1972) (Excerpt)
For "Bird"--With Love (1984) (Excerpts)
From all of us forever touched by his magic
Hidden Rites (1973) (Excerpt) Cry (1971) (Excerpt)
Revelations (1960)
Ailey Classics is a full program of works by Alvin Ailey, revealing the diversity of style and subject matter that has made Mr. Ailey a major contributor to the world of dance. The ballets span the length of Mr. Ailey's long and prolific career.
Sixty-eighth Performance 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.
Special thanks to Mary and Randall Pittman for their continued and gener?ous support of the University Musical Society both personally, and through Forest Health Services.
Additional support is provided by media partner, WDET.
Special thanks to Judith Jamison, Alana Barter and the Charles H. Wright Museum of African American History for their support of this residency.
The Alvin Ailey American Dance Theater is produced by Dance Theater Foundation, Inc.
The Board of Trustees of Dance Theater Foundation, Inc. gratefully acknowledges The Ford Foundation for its leadership support.
Major funding is also provided by the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, the New York City Department of Cultural Affairs, Time Warner Inc., and Merrill Lynch & Co., Inc.
Jaguar is the official car of the Alvin Ailey American Dance Theater.
HEALTHSOUTH is the official provider of dance medicine and physical rehabilitative services for the Alvin Ailey Dance Theater Foundation.
The Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies Inc.
Large print programs are available upon request.
Memoria (1979) (Excerpts)
In Memory -In Celebration
Alvin Ailey
Keith Jarrett, "Runes -Solara March"
A. Christina Giannini
Chenault Spence
Mucuy Bolles, Richard Witter,
Edward Franklin
Linda CAceres, Matthew rushing, Desiree vlad,
guillermo asca, solange sandy groves,
Uri Sands
This work is dedicated to the joy ... the beauty ... the creativity ... and the wild spirit of my friend Joyce Trisler.
How pitiful is her sleep.
Now her clear breath is still.
There is nothing falling tonight,
Bird or man,
As dear as she.
Nowhere that she should go
Without me. None but my calling
O nothing but the cold cry of the snow.
-Kenneth Patch
(In Memory of Kathleen)
Acoustic pianist and composer Keith Jarrett is known internationally for his keyboard improvisation. Mr. Jarrett has toured with his own trio and quartet, and as a soloist extensively in Europe, Russia and the United States. He has recorded in a wide range of contexts, both live and in studio settings, and has received numerous awards.
Funds for this production were provided, in part, by The Ford Foundation.
The creation of this work was made possible, in part, with public funds from the New York State Council on the Arts, a State Agency.
From the album Arbour Zena, courtesy of ECM Records.
"Night Creature,"
from Ailey Celebrates Ellington (1974) (Excerpts)
Costume Production Management
Costumes rebuilt by
Alvin Ailey
Duke Ellington, Night Creature
Jane Greenwood Costume Design
Elissa Tatigikis Iberte
Parsons Meares
Chenault Spence
"Night creatures, unlike stars, do not come out at night -they come on, each thinking that before the night is out he or she will be the star."
-Duke Ellington
Movement 2 Dwana Adiaha Smallwood, Bernard Gaddis venus Hall, Christina Angela Gonzales, Krisha Marcano, Michelle Cesene Baker, Lynn Barre, Briana reed, Glenn A. Sims, Kevin E. Boseman, Vernard J. Gilmore, Benoit-Swan pouffer, askia swift, kristofer storey
Movement 3 Dwana adiaha Smallwood, Bernard Gaddis and Company
Born in 1899, in Washington, DC, American composer, pianist and jazz-band leader Duke Ellington is one of the most influential figures in the history of music. In the early 1930s his band established its fame at the legendary Cotton Club in Harlem. Later it toured both nationally and internationally. The "Duke" wrote over 900 compositions before his death in 1974; among his classics are Mood Indigo, Solitude, Caravan, Sophisticated Lady, and Black, Brown, and Beige.
This production was made possible, in part, with funds from The Ford Foundation. "Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
Pas de Duke (1976) (Excerpt)
Alvin Ailey Duke Ellington Rouben Ter-Arutunian Chenault Spence
Solange Sandy groves, Uri Sands
Pas de Duke was originally created for Alley Celebrates Ellington, the Company's contribution to the nation's bicentennial, that was performed at the New York State Theater in August, 1976. A total of fifteen ballets were performed for this special celebration, which featured music played by The Duke Ellington Orchestra, conducted by Mercer Ellington.
"Such Sweet Thunder" (1957) "Sonnet for Caesar" (1957) "Sonnet to Hank Cinq" (1957) "Clothed Woman" (1948) "Old Man's Blues" (1930)
This production of Pas de Duke was made possible, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, and by a grant from The Ford Foundation.
Used with the permission of Tempo Music, Inc.
"Used with the permission of Mercer Ellington Publishing.
The Mooche (1975) (Excerpt)
For Florence Mills, Marie Bryant, Mahalia Jackson, and Bessie Smith
Technical Director
Scenery constructed by
Neon sign constructed by
Alvin Ailey Duke Ellington Randy Barcelo Rouben Ter-Arutunian Chenault Spence Daniel R. Bonitsky Adirondack Scenic Universal Electric Sign Inc.
Throughout his long and productive musical life Duke Ellington was writing musical portraits of black artists. He wrote Black Beauty (1928) especially for Florence Mills; Maha (1971) especially for Mahalia Jackson; The Shepherd (1968) for another beloved friend, used here as a portrait of the dancer Marie Bryant; and John Hardy's Wife (1941) and Creole Love Call (1929) as a portrait of Bessie Smith.
This production of The Mooche was made possible, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, and by a grant from The Ford Foundation.
Originally commissioned by Herman Krawitz and Robert Weiner.
Used with permission of Belwin-Mills Publishing Corp. and Tempo Music, Inc.
"Written by Mercer Ellington
Opus McShann (1988) (Excerpts)
Music composed by
Music performed by
Sets and Costumes
Alvin Ailey
Jay McShann and Walter Brown
Jay McShann
Randy Barcelo
Timothy Hunter
Gee Baby Ain't I Good to You D?sir?e Vlad, Bernard Gaddis
Doo Wah Doo
Uri Sands, Matthew rushing
Born in Muskogee, Oklahoma, in 1916, Jay "Hootie" McShann is recognized as a "great practitioner of the Kansas City jazz piano style." His Kansas City big band (1937-41) was a youthful collection of jazz greats including Gus Johnson, Gene Ramey and Charlie Parker. McShann has recorded for Atlantic and Capitol Records and was featured in the 1980 film, The Last of the Blue Devils. His brilliant achievement as a jazz artist and his contribution to the development of jazz have had a profound impact on the art form.
The creation of this work was made possible by commissioning grants from the Kansas City Friends of Alvin Ailey and the Helena Rubinstein Foundation.
Additional support for Opus McShann was provided by public funds from the National Endowment for the Arts and the New York State Council on the Arts -a State Agency, and by a grant from The Ford Foundation.
"A Song For You."
from Love Songs (1972) (Excerpt)
Music and Lyrics
Music performed by
Alvin Ailey Leon Russell Donny Hathaway Ursula Reed Shirley Prendergast
Jeffrey Gerodias
"I love you in a place Where there's no space or time ... I love you for my life You're a friend of mine ..."
The production of Love Songs was made possible, in part, by The Edward John Noble Foundation, The Ford Foundation, and with public funds from the National Endowment for the Arts and the New York State Council on the Arts, a State Agency.
For "Bird" -With Love (1984) (Excerpts) From all of us forever touched by his magic
Choreography Music
Original music composed,
assembled and conducted by
Set and costume design
Alto Sax
Tenor Sax
Alvin Ailey
Charlie Parker, Dizzy Gillespie,
Count Basie, Jerome Kern
Coleridge-Taylor Perkinson Randy Barcelo Timothy Hunter
"Bird" (A man, a musician) Uri Sands
Men Close to Him -musicians
Matthew Rushing Amos J. Machanic, Jr. Guillermo Asca Troy O'Neil Powell Richard Witter
Women Close to Him -Three singers and a pianist
Krisha Marcano, Desiree Vlad,
Dwana Adiaha Smallwood, Christina Angela Gonzales
Bahiyah Sayyed, Briana Reed
The Progenitor, The Man Who Came Before, A Club Manager Edward Franklin
Funds for this production were provided, in part, by The Ford Foundation, The Gladys Krieble Delmas Foundation, The Harkness Foundation for Dance, and with public funds from The National Endowment for the Arts.
The creation of the original score for this work was made possible, in part, with public funds from the New York State Council on the Arts, a State Agency.
Alvin Ailey Dance Theater Foundation, Inc. wishes to express its gratitude to all who made this work possible: The Kansas City Friends of Alvin Ailey, Inc., the Black Community Fund of Greater Kansas City, the Boatmen's Bank & Trust Company of Kansas City, the N.W. Dible Foundation, the Hoyt Companies, the Junior League of KCMO, Inc., the Mobil Foundation, Inc., J.C. Nichols Company, Mr. Allan Gray, Mr. Michael Fisher, Mr. Nicholas Ashford and Ms. Valerie Simpson, Mr. Eddie Baker of the Charlie Parker Memorial Foundation, Mr. Bob Dustman, The Gentlemen of Distinction and Mr. Max Roach.
Hidden Rites (1973) (Excerpt)
Alvin Ailey
Patrice Sciortino {Les Cyclopes)
Bea Feitler
Chenault Spence
Mari Kajiwara
Linda CAceres, benoit-Swan Pouffer
This production of Hidden Rites was made possible, in part, with public funds from the National Endowment for the Arts and the New York State Council on the Arts -a State Agency.
Cry (1971) (Excerpt)
For all Black women everywhere -especially our mothers.
Alvin Ailey Chuck Griffin Chenault Spence
Solange Sandy Groves,
dwana adiaha smallwood, desiree vlad
This work was made possible, in part, by a grant from The Ford Foundation. Right On, Be Free performed by The Voices of East Harlem. Used with permission of the publisher, Really Together Music.
Revelations (1960)
Please see page 50 for Revelations program notes and Alvin Ailey American Dance Theater biographies.
Due to injury, the program has been changed for this evening's performance. The order will be:
The Prodigal Prince (1968)
Bad Blood (1984)
Revelations (19G0)
Re staged By Music
Original Costume & Set Design Set Recreated by Lighting Design
Ulysses Dove
Masazumi Chaya
Laurie Anderson"Gravity's Angel"
& "Walking and Falling"
Peter Gabriel"Excellent Birds"
Carol Vollet-Kingston Andy Jackness Beverly Emmons
Funds for lliis production were provided in part by the Gladys Kricblc Dclmas Foundation. Commissioning funds for the original Ailcy production oClkid BlaoJ wcic provided by the Readers Digest Dance & Theater Program and with public funds from the Nation Endowment for the Arts and the New York State Council ofthc Arts, a stale agency.
Please sec page 4V of your program for Mr. Dove's biography information.
Alvin AlleyO American Dance Theater
Artistic Director JUDITH JAMISON
Associate Artistic Director MASAZUMI CHAYA
Forest Health Services
Company Members
Guillermo Asca, Lynn Barre, Mucuy Bolles, Kevin E. Boseman, Linda Caceres, Michelle Cesene Baker, Linda-Denise Evans, Edward Franklin, Bernard Gaddis, Jeffrey Gerodias, Vernard J. Gilmore, Christina Angela Gonzales, Venus Hall, Lisa Johnson, Amos J. Machanic, Jr., Krisha Marcano, Benoit-Swan Pouffer, Troy O'Neil Powell, Briana Reed, Renee Robinson, Matthew Rushing, Uri Sands, Solange Sandy Groves, Bahiyah Sayyed, Glenn A. Sims, Dwana Adiaha Smallwood, Kristofer Storey, Askia Swift, Desiree Vlad, Richard Witter, and Dudley Williams
Saturday Evening, March 20,1999 at 8:00 Power Center, Ann Arbor, Michigan
The Prodigal Prince (1968)
Lettres d'Amour (1998)
Revelations (1960)
Sixty-ninth Performance 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.
Special thanks to Mary and Randall Pittman for their continued and gener?ous support of the University Musical Society both personally, and through Forest Health Services.
Additional support is provided by media partner, WDET.
Special thanks to Judith Jamison, Alana Barter and the Charles H. Wright Museum of African American History for their support of this residency.
The Alvin Ailey American Dance Theater is produced by Dance Theater Foundation, Inc.
The Board of Trustees of Dance Theater Foundation, Inc. gratefully acknowledges The Ford Foundation for its leadership support.
Major funding is also provided by the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, the New York City Department of Cultural Affairs, Time Warner Inc., and Merrill Lynch & Co., Inc.
Jaguar is the official car of the Alvin Ailey American Dance Theater.
HEALTHSOUTH is the official provider of dance medicine and physical rehabilitative services for the Alvin Ailey Dance Theater Foundation.
The Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies Inc.
Large print programs are available upon request.
The Prodigal Prince (1968)
"Great gods cannot ride little horses" -Haitian proverb
Music, Costumes, Choreography
Lighting Designs, and Stage Effects
Assistant to the Choreographer
Geoffrey Holder Clifton Taylor Christian Holder Jim Papoulis
Mr. Holder divides the ballet into the following sections:
Conversation with the Gods
The Feather Brush
The Dream of Africa -A Divine Sleep
Homecoming and Inheritance
The Beginning
This ballet deals with the real and imaginative life of Hector Hyppolite, the most notable of primitive painters in Haiti's history. Hyppolite was for all his life a houngan -a high priest of the Haitian people's religion, Voudoun. In the years before he gained recognition, he decorated doors, chairs, postcards and even painted flowers on chamberpots. In 1943 the Voudoun Goddess Erzulie and St. John the Baptist came to him in a vision. This vision, and a real or imagined sojourn in Africa, inspired him to paint his vision of the Voudoun "loas" -the gods of Africa who ruled his life. Also, the gods in that vision told him that a man from overseas would buy his paintings and that his life would change for the better. Andre Breton was that man, and Hector Hyppolite, after nearly a half century of reverence, came to be celebrated for his genius.
Hector Hyppolite
Erzulie Freda Dahomey
Saint John the Baptist
The Mambo
jeffrey gerodias
dwana adiaha smallwood
bernard gaddis
desiree vlad
Uri Sands
The Company
Geoffrey Holder is currently at the peak of his career. He received two Tony Awards for Best Director and for Best Costume Designer for his work in The Wiz. Numerous awards for Timbuktoo which he directed, choreographed and costumed starring Eartha Kitt. As a painter, he won the Guggenheim Fellowship Award, and his many television commercials have resulted in his winning several Clio Awards for his work with 7-Up and British West Indian Airlines.
On Broadway, Mr. Holder performed as a principal dancer in Truman Capote's House of Flowers where he met his wife, the fabulous actress, dancer and choreographer, Carmen de Lavallade. As an actor he played the part of Lucky in Waiting for Godot. His films are 007's Live and Let Die for which he choreographed and performed the role of Baron Samedi; Dr. Doolittle with Rex Harrison; Punjab in Annie with Albert Finney; and had a role designed for him by Claude Lelouche in the upcoming french movie Hazard Au Coincidence.
He was premier danseur at the Metropolitan Opera House; for the Dance Theatre of Harlem, he choreographed, designed the costumes and wrote the music for three of their ballets -Dougla, Banda, and Bele, and created the costumes and sets for their Firebird.
Mr. Holder's paintings have been acquired by the Corcoran Gallery; the Barbados Museum; The Museum of Art in Durham, North Carolina; the Museum of the City of New York; the National Gallery in Washington and the Leonard Hana collection, as well as various private collectors. He is currently exhibiting in Washington at the Mexican Cultural Center a restrospective of his paintings, costume designers and photography through January 1999.
Mr. Holder is also the author of Black Gods, Green Islands for Doubleday and Geoffrey Holder's Carribean Cookbook for Viking Press. A major book of his photography, Adam was recently published by Viking Press.
Funds for this production were provided, in part, by the New Jersey Performing Arts Center and The Harkness Foundation for Dance.
Spectrum Gobos provided by Rosco Laboratories.
Lettres d'Amour (1998)
Choreography Music
Costume Design
Costumes Built by
Lighting Design
Various Artists
Eric Winterling Inc.
Redha & Brenda Dolan
renee Robinson, Lisa Johnson, Solange Sandy Groves, bahiyah sayyed, Lynn barre, Linda CAceres, Richard witter, Troy O'Neil Powell, Jeffrey Gerodias, Glenn A. Sims, Edward franklin,
Redha was born in the South of France, grew up in North Africa, and began his dance training at the age of twenty-two in Cannes, France with Rosella Hightower. He continued his training in Los Angeles under the direction of Stanley Holden, Jaimie Rogers, Lester Wilson and Claude Thompson. In 1983, he returned to France to form his own company, Compagnie Redha and was awarded the Grand Prix at the First International Choreography Competition of Tokyo in 1991. In addition to choreographing for his company, he created La Pavane Rouge for the San Francisco Ballet and has worked extensively in the European film and television industries, recently completing an adaptation of Tales of Hoffman with director Roman Polanski.
The creation of this work was made possible, in part, with public funds from the New York State Council on the Arts, a State Agency.
Nimalisme performed by Fragile Dither
Cantus in Memory of Benjamin Britten written & performed by Arvo Part -published by ECM Productions
Nothing Else Matters performed by Apocalyptica, written by James Hetfeild & Lars Ulrich -published by Creeping Death Music
Zone VI written and performed by Gabrielle Roth & the Mirrors -published by Raven Recordings
Incipit Vita Nova written and performed by Gavin Bryars -published by BMG Classics & ECM Records
Drippy written & performed by Banco de Gaia -published by Ultimate Records Nuages written & performed by Ryuchi Sakamoto '?-published by EMI Virgin Music Inc. Wuste performed by Einstrurzende Neubauten -published by Freibank
Sacrifice written & performed by Lisa Gerrard and Pieter Bourke -published by Polygram Music Publishing
Revelations (1960)
Please see page 50 for Revelations program notes and Alvin Ailey American Dance Theater biographies.
Alvin AlleyO American Dance Theater
Artistic Director JUDITH JAMISON
Associate Artistic Director MASAZUMI CHAYA
Forest Health Services
Company Members
Guillermo Asca, Lynn Barre, Mucuy Bolles, Kevin E. Boseman, Linda Caceres, Michelle Cesene Baker, Linda-Denise Evans, Edward Franklin, Bernard Gaddis, Jeffrey Gerodias, Vernard J. Gilmore, Christina Angela Gonzales, Venus Hall, Lisa Johnson, Amos J. Machanic, Jr., Krisha Marcano, Benoit-Swan Pouffer, Troy O'Neil Powell, Briana Reed, Renee Robinson, Matthew Rushing, Uri Sands, Solange Sandy Groves, Bahiyah Sayyed, Glenn A. Sims, Dwana Adiaha Smallwood, Kristofer Storey, Askia Swift, Desiree Vlad, Richard Witter, and Dudley Williams
Sunday Afternoon, March 21, 1999 at 4:00 Power Center, Ann Arbor, Michigan
Streams (1970)
Episodes (1989)
Revelations (1960)
Seventieth Performance 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.
Special thanks to Mary and Randall Pittman for their continued and gener?ous support of the University Musical Society both personally, and through Forest Health Services.
Additional support is provided by media partner, WDET.
Special thanks to Judith Jamison, Alana Barter and the Charles H. Wright Museum of African American History for their support of this residency.
The Alvin Ailey American Dance Theater is produced by Dance Theater Foundation, Inc.
The Board of Trustees of Dance Theater Foundation, Inc. gratefully acknowledges The Ford Foundation for its leadership support.
Major funding is also provided by the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, the New York City Department of Cultural Affairs, Time Warner Inc., and Merrill Lynch & Co., Inc.
Jaguar is the official car of the Alvin Ailey American Dance Theater.
HEALTHSOUTH is the official provider of dance medicine and physical rehabilitative services for the Alvin Ailey Dance Theater Foundation.
The Alvin Ailey American Dance Theater is sponsored by Philip Morris Companies Inc.
Large print programs are available upon request.
Streams (1970)
Aria Diabolico
Alvin Ailey
Miloslav Kabelac, Eight Inventions, Op. 45
Chenault Spence
Edward Franklin and Company Krisha Marcano, Glenn A. Sims Christina Angela Gonzales guillermo asca, amos j. machanic, jr. bah i yah sayyed
Lynn Barre, Michelle Cesene Baker, Venus Hall, Briana Reed, Askia Swift, Vernard J. Gilmore, Kristofer Storey
The Company The Company
Miloslav Kabelac was born in Prague in 1908. At twenty, he entered the Prague conservatory and studied composition, conducting and piano. Always an inquiring spirit whose interests included exotic musical forms, with Eight Inventions he achieved mastery of the complexities associated with orchestra?ting for a percussion ensemble. Written for the Strasbourg Percussion Ensemble, the Eight Inventions were performed in April 1965.
Funds for this revival were provided, in part, by The Gladys Krieble Delmas Foundation.
The Board of Trustees of Dance Theater Foundation would like to thank the New York State Council on the Arts -a State Agency, and The Eleanor Naylor Dana Charitable Trust for their generous support of Streams.
By arrangement with Boosey & Hawkes, Inc., publishers and copyright owners.
Cry (1971)
For all Black women everywhere -especially our mothers.
Alvin Ailey
Alice Coltrane, Laura Nyro and Chuck Griffin
Chenault Spence
This work was made possible, in part, by a grant from The Ford Foundation.
Something About John Cofrane performed by Alice Coltrane. Used with permission of the publisher, Jowcol Music, Inc.
Been on a Train performed by Laura Nyro. Used with permission of the publisher, Tunafish Music, Inc.
Right On, Be Free performed by The Voices of East Harlem. Used with permission of the publisher, Really Together Music.
Episodes (1989)
Restaged by
Original Music
Lighting Design
Ulysses Dove Masazumi Chaya Robert Ruggieri Jorge Gallardo John B. Reade
Solange Sandy Groves, Lynn barre krisha Marcano, Michelle Cesene baker Glenn A. Sims, Benoit-Swan Pouffer Kristofer Storey, Jeffrey Gerodias, askia Swift
The late beloved Ulysses Dove was a "choreographer with a bold new voice," whose works can be seen in the repertories of major dance companies such as the Alvin Ailey American Dance Theater, The Culberg Ballet, Bayerische Statsoper and Ballet France de Nancy. A native of Columbia, South Carolina, Dove began studying modern dance and ballet with Carolyn Tate, Xenia Chilstowa, Jack Moore, Judith Dunn, Bertram Ross, Helen McGehee and Mary Hinkson. After receiving his bachelor's degree from Bennington College, Dove moved to New York City, where he studied with Maggie Black and Alfredo Corvino and performed with Jose Limon, Mary Antony, Pearl Lang and Anna Sokolow. In 1970, he received a scholarship to the Merce Cunningham School, and later joined the Merce Cunningham Dance Company. Shortly thereafter, he made his choreographic debut in 1979 with the Alvin Ailey American Dance Theater. From 1980-83 Dove was the assis?tant director of Groupe Recherche Choreographique de l'Opera de Paris, where he taught company classes and choreographed. Ms. Jamison is commit?ted to his works as a continuing legacy to the Ailey repertory.
Funds for this revival were provided, in part, by AT&T.
The original production of this work was made possible, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts -a State Agency, and by a generous grant from The Harkness Foundation for Dance.
Revelations (1960)
Choreography Music
Decor and Costumes Costumes for
'Rocka My Soul" redesigned by Lighting
Alvin Ailey Traditional Ves Harper
Barbara Forbes Nicola Cernovitch
Pilgrim Of Sorrow
Friday Evening Saturday Evening
Sunday Afternoon
Friday and Sunday Saturday Evening
I Been 'Buked Arranged by Hall Johnson
The Company
Didn't My Lord Deliver Daniel Arranged by James Miller
Glenn a. Sims, desiree vlad, Lisa Johnson vernard J. Gilmore, Venus Hall, Christina Angela Gonzales benoit-swan pouffer, desiree vlad, christina angela gonzales
Fix Me, Jesus Arranged by Hall Johnson
Take Me To The Water
Friday Evening Saturday Evening Sunday Afternoon
Friday and Sunday Saturday Evening
Friday Evening Saturday Evening Sunday Afternoon
ProcessionalHonor, Honor
Adapted and arranged by Howard A. Roberts
askia swift, venus hall, kristofer storey, glenn a. sims
askia Swift, Michelle Cesene Baker, kristofer Storey, vernard j. gilmore askia Swift, Michelle Cesene baker, kristofer storey, benoit-Swan pouffer
Wade in the Water
Adapted and arranged by Howard A. Roberts Wade in the Water sequence by Ella Jenkins. A Man Went Down to the River is an original composition by Ella Jenkins.
I Wanna Be Ready Arranged by James Miller
amos j. machanic, jr. Jeffrey Gerodias guillermo asca
Move, Members, Move
Friday Evening Saturday Evening Sunday Afternoon
Sinner Man
Adapted and arranged by Howard A. Roberts
Uri Sands, Matthew rushing,
Troy O'Neil Powell
Glenn A. Sims, Kevin E. Boseman,
Troy O'Neil Powell
amos J. machanic, jr., vernard j. Gilmore,
Kevin e. boseman
The Day is Past and Gone Arranged by Howard A. Roberts and Brother John Sellers
The Company
You May Run On
Arranged by Howard A. Roberts and
Brother John Sellers
The Company
Rocka My Soul in the Bosom of Abraham Adapted and arranged by Howard A. Roberts
The Company
All performances of Revelations are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wife Barbara and her deep commitment to the Alvin Ailey American Dance Theater.
"Used by special arrangement with Galaxy Music Corporation, New York City.
The Alvin Ailey American Dance Theater grew from a now fabled performance of March, 1958, at the 92nd Street Young Men's Hebrew Association in New York. Led by Alvin Ailey and a group of young black modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated nineteen-million people in forty-eight states and in sixty-eight countries on six continents, including a recent historic residency in South Africa. The company has earned a reputation as one of the most acclaimed international ambassadors of American culture, promot?ing the uniqueness of black cultural expres?sion and the preservation and enrichment of the American modern dance heritage. Born in Rogers, Texas on January 5, 1931, Alvin Ailey was introduced to dance
by performances ot the Katherine Dunham Dance Company and the Ballet Russe de Monte Carlo. His formal dance training began with an introduc?tion to Lester Horton's classes by his friend, Carmen de Lavallade.
When Mr. Ailey began creating dance, he drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration, which resulted in the creation of two of his most popular and critically acclaimed works -Blues Suite and Revelations.
Although he created seventy-nine bal?lets over his lifetime, Alvin Ailey maintained that his company was not exclusively a repository for his own work. Today, the company continues Mr. Ailey's legacy of
presenting important works of the past and commissioning new ones. In all, more than 180 works by over sixty choreographers have been performed by the Ailey company.
In 1989, after the death of Alvin Ailey, Judith Jamison was appointed Artistic Director of the Alvin Ailey American Dance Theater. Ms. Jamison wrote in her autobiog?raphy, Dancing Spirit, "I hope I'm a continu?ation of Alvin's vision. He has left me a road map. It's very clear. It works."
These performances mark Alvin Ailey American Dance Theater's twenty-second, twenty-third, and twenty-fourth appearances under VMS auspices.
Judith Jamison was appointed Artistic Director of the Alvin Ailey American Dance Theater in 1989, after the death of her mentor, Alvin Ailey. A native of Philadelphia, she studied with the late Marion Cuyjet, was discovered by Agnes de Mille and made her New York debut with American Ballet Theatre in 1964. She became a member of the Alvin Ailey American Dance Theater in 1965 and danced with the Company for fif?teen years to great acclaim. Recognizing her extraordinary talent, Mr. Ailey created some of his most enduring roles for her, most notably the tour de force solo Cry.
After leaving the Company, Ms. Jamison appeared as a guest artist with bal?let companies all over the world and starred in the hit Broadway musical Sophisticated Ladies. In 1988, she formed her own compa?ny, The Jamison Project, and a PBS special depicting her creative process, Judith Jamison: The Dancemaker, aired nationally the same year.
A highly regarded choreographer, Ms. Jamison has created works for many compa?nies. Sweet Release premiered at Lincoln
Center Festival 1996, to original music by Wynton Marsalis. Rift (1991), Hymn (1993), a collabo?ration with Anna Deavere Smith fea?tured on the PBS television special Great
Performances, and Riverside {1995)
are other major works she has choreo?graphed for the Company.
Ms. Jamison is a master teacher, lecturer and author (her autobiography, Dancing Spirit, was published in 1993). She is a noted authority on modern dance and an advocate for education in the arts. She sits on the boards of several organizations including Jacob's Pillow and the Advisory Board of the Harkness Center for Dance Injuries. She is the recipient of many awards and honorary degrees (the latest from Yale University in 1997).
Today, Judith Jamison presides over a renewed Ailey organization, artistically and fiscally invigorated. Her presence has been a catalyst, propelling the organization in new directions -the development of the Women's Choreography Initiative, Company performances at the Olympic Arts Festival, national appearances by the Company in American Express television and print ads, and the Company's unprecedented return to South Africa. She has continued Mr. Ailey's practice of showcasing the talents of emerg?ing choreographers from within the ranks of the Company. As Artistic Director of the Alvin Ailey American Dance Center, the official school of the Alvin Ailey American Dance Theater, she has helped to implement a multicultural curriculum including the dance of West Africa. She has also been a guiding force in establishing a B.F.A. pro-
gram with the Alvin Ailey American Dance Center and Fordham University which offers a unique combination of superb dance training and a superior liberal arts education. Her focus, as the Company ush?ers in the Fortieth Anniversary Season, remains on the importance of the constant rejuvenation of the Ailey legacy-dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.
Masazumi Chaya was born in Fukuoka, Japan where he began his classical ballet training. Upon moving to New York on December 19, 1970, he studied modern dance and performed with the Richard Englund Repertory Company. Mr. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for fifteen years. In 1988, he became the Company's Rehearsal Director, after serving as Assistant Rehearsal Director for two years. A master teacher, both on tour with the Company and in his native Japan, he served as choreographic assistant to Alvin Ailey and John Butler. In 1991, Mr. Chaya was named Associate Artistic Director of the Company.
Since then, Mr. Chaya has staged numerous ballets including Alvin Ailey's Flowers for the State Ballet of Missouri (1990), The River for the Royal Swedish Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995) and Pennsylvania Ballet (1996). He has also restaged Pas de Duke, The River, The Mooche, The Stack-Up, Episodes, Masekela Langage and Bad Blood for the Company. At the beginning of his tenure as Associate Artistic Director, Chaya restaged Ailey's For "Bird" -With Love for a Dance in America program entitled Alvin Ailey American Dance Theater: Steps Ahead. This past year, Chaya restaged Ailey's The
River for the Colorado Ballet.
In the many years of his involvement with the Company, Mr. Chaya has contin?ued to provide invaluable creative assistance in all facets of its operations. He assisted in the creative development of an American Express commercial featuring the Company and each year offers creative direction for the Company photo shoots. He has also appeared on Japanese television in both dra?matic and musical productions.
Masazumi Chaya wishes to recognize the artistic contribution and spirit of his late friend and fellow artist, Michihiko Oka.
Ronni Favors began dancing as a child in her hometown of Iowa City, Iowa. After graduating from high school, she traveled to New York to continue her studies at the Alvin Ailey American Dance Center. Ms. Favors has been a member of the Alvin Ailey Repertory Ensemble, the Alvin Ailey American Dance Theater, and the Lar Lubovitch Dance Company, as well as appearing in several music videos and tele?vision commercials. She also served as Lubovitch's assistant in setting his works on several companies, including the Cleveland Ballet, and Ballet du Nord. Ms. Favors was the Ballet instructor in AileyCamp's 1989 inaugural session in Kansas City and served as the Artistic Director there in 1990. She was the founding Director of New York's CASAileyCamp, and provided guidance in the national implementation of the pro?gram. Ms. Favors assumed the position of Assistant Rehearsal Director in 1997. During the Company's return to South Africa in the fall of 1998, Ms. Favors engaged and rehearsed South African students who per?formed in Alvin Ailey's Memoria in Johannesburg.
Guillermo Asca (Rego Park, NY), or "Moe" as he is affectionately known, was awarded a scholarship to the Alvin Ailey American Dance Center and has danced with the Alvin Ailey Repertory Ensemble, Ballet Metropolitano de Caracas, Ballet Hispanico, Dance Compass and Foot Prints Dance Project. Mr. Asca joined the Company in 1994.
Lynn Barre (Ft. Lauderdale, FL) began her dance training in Ft. Lauderdale, FL. She continued her studies at the New World School of the Arts and began performing with Freddick Bratcher and Company in Miami. She joined the Philadelphia Dance Company (Philadanco) in 1993 where she danced for four seasons. She has also per?formed with Wylliams Henry Danse Theatre and Elisa Monte Dance. Ms. Barre joined the Company in 1997.
Mucuy Bolles (Komchen, Mexico) graduat?ed from the Walnut Hill School for the Arts in Massachusetts and received the first level award in modern dance by the National Foundation for the Arts. She danced with Feld BalletNY (now Ballet Tech), Elisa Monte Dance Company and also appeared in the 1993 Broadway musical, The Red Shoes. In 1994, Ms. Bolles joined the Company. In 1997, she became a cast mem?ber of the Broadway musical, The King and I, and rejoined the Company in 1998.
Kevin E. Boseman (Anderson, SC) began training with Andrew Kuharsky at the Greenville Ballet where he later made his performing debut. Mr. Boseman was a scholarship student at the Alvin Ailey American Dance Center and has danced with the Alvin Ailey Repertory Ensemble, the Martha Graham Dance Company and Donald ByrdThe Group. He was in the 1995 revival tour of Your Arms Too Short to Box With God. Mr. Boseman joined the Company in 1997.
Linda Caceres (Bronx, NY) began her dance training at Ballet Hispanico School of Dance and is a graduate of La Guardia High School for the Performing Arts. During the sum?mer of 1993, she was a scholarship student at the Pennsylvania Ballet, and in 1994 she was a finalist in the Arts Recognition and Talent Search in Miami, FL. She has danced with 'El Piccalo Theatro del' la Opera and Ballet Hispanico. Ms. Caceres joined the Company in 1996.
Michelle Cesene Baker (Los Angeles, CA) trained with Rebecca Wright, Victoria Koenig, and Michelle Simmons. After grad?uating with a Bachelor of Arts degree in Dance from California State University Long Beach, she joined Dallas Black Dance Theatre where she danced for three years. Ms. Cesene Baker joined the Company in 1997.
Linda-Denise Evans (Baltimore, MD) began her dance training at the Baltimore School for the Arts and studied on scholarship at the Alvin Ailey American Dance Center. She received first place in the National ACT-SO Competition sponsored by the NAACP and was a finalist in the Arts Recognition and Talent Search in Miami, FL. Ms. Evans has performed with the Capitol Ballet and Hubbard Street Dance Company. She joined the Company in 1992.
Edward Franklin (Detroit, MI) studied at the Alvin Ailey American Dance Center, where he was a recipient of a Donna Wood Foundation Award. He is a graduate of the North Atlanta School of Performing Arts and performed with the Gary Harrison Dance Company in Atlanta. He danced with Philadanco from 1994 to 1996 and joined the Company in 1996.
Bernard Gaddis (Philadelphia, PA) is a graduate of the Creative and Performing Arts High School and received scholarships to Dance Theatre of Harlem, Pennsylvania Ballet and Alvin Ailey American Dance Center. He has performed with Leja Dance Theatre, Koresh Dance Company and Philadanco. He is also a former artistic director and founder of Philadanco's second company. Mr. Gaddis joined the Company in 1993.
Jeffrey Gerodias (San Diego, CA) studied at the San Diego School of Creative and Performing Arts and the Boston Conservatory of Music, Theater and Dance. He also studied at the Alvin Ailey American Dance Center where he was a recipient of a Donna Wood Foundation Award during the summer of 1994. He has danced with the Alvin Ailey Repertory Ensemble, and he joined the Company in 1996.
Vernard J. Gilmore (Chicago, IL) began dancing at Curie Performing and Creative Arts High School in Chicago and later stud?ied at the Joseph Holmes Chicago Dance Theater with Marquita Levy, Harriet Ross and Emily Stein. He received a dance schol?arship to Barat College, won the all-city NAACP ACT-SO Competition in dance in 1993, and studied on scholarship at the Alvin Ailey American Dance Center. A for?mer member of the Alvin Ailey Repertory Ensemble, he joined the Company in 1997.
Christina Angela Gonzales (San Francisco, CA) attended the San Francisco School of Arts and received her training as a scholar?ship student at the AJvin Ailey American Dance Center. She has performed with Earl Mosley Dance, Complexions -A Concept in Dance, Ballet Hispanico, and from 1992-1995, she was a member of the Alvin Ailey Repertory Ensemble. Ms. Gonzales joined the Company in 1997.
Solange Sandy Groves (Port-of-Spain, Trinidad) began her dance training at the Caribbean School of Dancing. She is an alumna of the Alvin Ailey American Dance Center and danced with the Alvin Ailey Repertory Ensemble after receiving her B.F.A. degree from The Juilliard School. Ms. Sandy Groves joined the Company in 1994.
Venus Hall (Chicago, IL) trained at Joseph Holmes Chicago Dance Theatre under the instruction of Randy Duncan and Harriet Ross. She was a scholarship student at Barat College where she received her B.F.A. and was named in numerous honor societies. Ms. Hall is a former all-city winner of dance in the NAACP ACT-SO Competition. She studied on scholarship at the Alvin Ailey American Dance Center, was a member of the Alvin Ailey Repertory Ensemble, and joined the Company in 1997.
Lisa Johnson (Washington, DC) is a gradu?ate of the Duke Ellington School of the Arts and the University of the Arts in Philadelphia. She has danced with the Capitol Ballet, Donald ByrdThe Group and Cleo Parker Robinson Dance Ensemble. She also appeared with the Washington Opera and in the PBS special Judith Jamison: The Dancemaker. Ms. Johnson joined the Company in 1994.
Amos J. Machanic, Jr. (Miami, FL) studied dance at the New World School of the Arts and continued his training at the Alvin Ailey American Dance Center, where he was a scholarship recipient. He was a member of the Alvin Ailey Repertory Ensemble and joined the Company in 1996.
Krisha Marcano (St. Joseph, Trinidad) has trained at the Caribbean School of Dance, State University of New York at Purchase, the Alvin Ailey American Dance Center and the Martha Graham Center of Contemporary Dance. Her performance experience includes the Martha Graham Dance Company, the Michael Mao Dance Company and the Royal Caribbean Cruise Line. Ms. Marcano joined the Company in 1997.
Benoit-Swan Pouffer (Paris, France) attend?ed the Conservatoire National Superieur de Danse de Paris and was a scholarship stu?dent at the Alvin Ailey American Dance Center. He was first prize winner at the European Benetton Competition in Italy, and has worked with Complexions -A Concept in Dance, Philadanco, and Donald ByrdThe Group. Mr. Pouffer joined the Company in 1997.
Troy O'Neil Powell (New York, NY) studied at the Alvin Ailey American Dance Center from the age of nine and graduated from New York City's High School for the Performing Arts. He was a finalist in the Arts Recognition and Talent Search in Miami, Florida. He has assisted choreogra?phers Judith Jamison, Louis Johnson and Ralph Lemon, and has danced with the Alvin Ailey Repertory Ensemble. Mr. Powell joined the Company in 1991.
Briana Reed (St. Petersberg, FL) graduated from The Juilliard School with a B.F.A. degree in dance and studied at the Alvin Ailey American Dance Center as a scholar?ship student. She was then selected to join the Alvin Ailey Repertory Ensemble in 1997 and became a member of the Company in 1998.
Renee Robinson (Washington, DC) began her training in classical ballet at the Jones-Haywood School of Ballet. She was the recipient of two Ford Foundation scholar?ships to the School of American Ballet and was awarded full scholarships to the Dance Theatre of Harlem and the Alvin Ailey American Dance Center. Ms. Robinson was a member of the Alvin Ailey Repertory Ensemble and joined the Company in 1981.
Matthew Rushing (Los Angeles, CA) attend?ed the Los Angeles County High School for the Arts and trained at the Los Angeles Contemporary Dance Theater, Stanley Holden Dance Center and the Alvin Ailey American Dance Center. He has received the Spotlight Award and was named a Presidential Scholar in the Arts. Mr. Rushing danced with the Alvin Ailey Repertory Ensemble and joined the Company in 1992.
Uri Sands (Miami, FL) studied at the New World School of the Arts in Miami under Daniel Lewis. He continued his training at the Miami Ballet and Contemporary Dance
Theatre. He received full scholarships to Miami Ballet, Milwaukee Ballet, Joffrey Ballet and the Alvin Ailey American Dance Center. Mr. Sands has danced with Freddick Bratcher and Company, Miami Ballet and Philadanco. Mr. Sands joined the Company in 1995.
Bahiyah Sayyed (Brooklyn, NY) received her B.F.A. degree in dance from The Juilliard School and studied at the AAADC as a scholarship student. She has danced with Complexions -A Concept in Dance and Donald ByrdThe Group. In 1996, she became a member of the Frankfurt Ballett under the artistic direction of William Forsythe and joined the Company in 1998.
Glenn A. Sims (Long Branch, NJ) began his training at the Academy of Dance Arts in Red Bank, NJ. He was a scholarship student at the Alvin Ailey American Dance Center and attended The Juilliard School. He has performed for the King of Morocco and danced in works by Glen Tetley, Paul Taylor, Jose Limon, and Lila York. Mr. Sims joined the Company in 1997.
Dwana Adiaha Smallwood (Brooklyn, NY) has a degree in modern dance from the North Carolina School of the Arts and also trained at the Martha Graham Center of Contemporary Dance, LaGuardia High School of Performing Arts, and as a scholar?ship student at the Alvin Ailey American Dance Center. She is a former member of the North Carolina Black Repertory Company and three-time first place winner of the Apollo Theater's Amateur Night. Ms. Smallwood was a member of the Alvin Ailey Repertory Ensemble and joined the Company in 1995.
Kristofer Storey (Pittsburgh, PA) began his training in Pittsburgh and went on to study at the AAADC as a scholarship student and to earn his B.F.A. from The Julliard School
in 1998. He is also a choreographer and a member of Actor's Equity Association. He would like to extend thanks and love to friends and family especially his mother, who has made all things possible. Mr. Storey joined the Company in 1998.
Askia Swift (Baltimore, MD) received his training from the Baltimore School for the Arts, the School of American Ballet and the San Francisco Ballet School. He joined the San Francisco Ballet in 1992 where he per?formed in a variety of classical and contem?porary works. In 1998, Mr. Swift became a member of the Company.
Desiree Vlad (New York, NY) studied dance at St. Thomas School of Dance in the US Virgin Islands, the North Carolina School of the Arts and the Alvin Ailey American Dance Center. She has performed with the Alvin Ailey Repertory Ensemble, Ze'eva Cohen Dance Company and in a produc?tion of Emperor Jones starring Cleavon Little. Ms. Vlad joined the Company in 1986.
Dudley Williams (New York, NY), graduat?ed from the High School of the Performing Arts, and also attended The Juilliard School and the Metropolitan Opera Ballet School. He performed with the companies of Martha Graham, Donald McKayle and Talley Beatty and has made numerous solo appearances on television, both at home and abroad. Mr. Williams joined the Company in 1964.
Richard Witter (Kingston, Jamaica) enrolled in England's Air Training Corps to learn avi?ation at the age of fourteen. He flew solo for three years before moving on to study at the Northern School of Contemporary Dance. In 1987 he won the "Cosmopolitan Dancer of the Year" award. Mr. Witter has danced with Dance Theatre of Harlem and joined the Company in 1994.
Alvin Alley Dance Theater Foundation Board Of Trustees
Chairman Philip Laskawy
President Henry McGee
Vice-Chairmen Barbara Jonas, Arthur J. Mirante II,
Sylvia Rhone, (oan H. Wcill
James G. Abruzzo Simin N. Allison Eleanor S. Applewhaite David N. Barus, Esq. Carolyn Schwenker Brody Anthony M. Carvette Judith M. Davenport Edward L. Gardner Lauren Dugas Glover Guido Goldman Judith Jamison Amy B. Lane Michael P. Monaco Martin Monas, Esq. Gabriella E. Morris William Murray Joyce M. Nelson Lizabeth A. Newman Alex J. Plinio Ronald A. Posey, AIA Wendy Farrow Raines Julie Ratner, Ed.D. Nicolas S. Rohatyn Lisa Schultz Richard Speciale Lemar Swinney Carmen Thain Liz Thompson Julia A. Walker John Wren
Chairmen Emeriti Stanley Plesent, Esq., Harold Lcvine
Dance Theater Foundation Administrative Staff Sharon Gerstcn Luckman, Executive Director
Bennett Rink, Director
Pamelyn Jones, Associate Director, Individual
and Government Support Lauren Cherubini, Associate Director, Corporate
and Foundation Support Josephine Ciallella, Manager, Special Events Rachel Perimeter, Development Assistant
Marketing And Public Relations
Cynthia MacMartin, Director
Rubinee Sathianathan, Public Relations Manager
Sergey Gordcev, Marketing Assistant
Amy Luce, Marketing Assistant
Jennifer Fyall, Marketing Assistant
Finance And Administration
Pamela Robinson, Director Antoinette Holder, Assistant Comptroller Kathleen D. Rose, Accountant and Personnel Director Thelma Cameron-McBean, Finance Associate Samuel Coleman, Office Manager Sathi Pillai-Colucci, Executive Assistant to Ms. Jamison Theresa Palazzo, Executive Assistant to Ms. Luckman Amadea Edwards, Executive Assistant to Mr. HuntProduction Associate
Alvin Ailey American Dance Theater
Calvin Hunt, General ManagerDirector of Production
Christopher Zunner, Company Manager
David Gibson, Technical Director
Zorba D. Soteras, Costume Supervisor
Brenda Dolan, Lighting Supervisor
Stacey P. Hoyt, Stage Manager
Dave Sauers, Master Electrician
Glenn Magnus, Master Carpenter
Stephen Manocchio, Sound Engineer
Joe Gaito, Property Master
Iris Novick, Assistant Electrician
Victoria Epstein, Assistant Stage Manager
Shawn Ready, Wardrobe Assistant
Janice Stephenson, Wardrobe Assistant
William Gregory, Flyman
Al Crawford, Assistant Lighting Supervisor
Ronni Favors, Assistant Rehearsal DirectorCompany Teacher
Masazumi Chaya, Company Teacher
Milton Myers, Company Teacher
Dudley Williams, Company Teacher
Troy O' Neil Powell, Company Teacher
Donald J. Rose M.D., Director of the Harkness Center
for Dance Injuries Shaw Bronner, Physical Therapist of HEALTHSOUTH Corporation
Alvin Ailey American Dance Center
Alvin Ailey, Founder
Pearl Lang, Co-Founder
Judith Jamison, Artistic Director
Denise Jefferson, Director
James Paulson, Business Manager
Honora Williams, School Administrator
Sally Lelong, Financial Aid Director
JoAnne Ruggeri, Admissions OfficerInternational
Student Advisor Benjamin Goetz, Registrar Sherry Abdool, Bursar Steven Brown, Senior Studio Manager Nicaise Makosso, Studio Manager Karen Arceneaux, Administrative Assistant to School Director
and to B.F.A. Program Administrator
Program Directors
Ana Marie Forsythe, B.F.A. Program Administrator Beth Bogush, Junior Division Co-Director Elena Comendador, Junior Division Co-Director Sharon Wong, PPAS Program Coordinator M'Bewe Escobar, PPAS Student Advisor
Department Chairpersons
Celia Marino, Ballet
Ana Marie Forsythe, Horton
Jacqulyn Buglisi, Graham-based Modern
Joan Peters, Dunham
Fred Benjamin, Jazz
Alvin Ailey Repertory Ensemble Sylvia Waters, Artistic Director Ishanee DeVas, Business Manager Derrick Minter, Rehearsal Director Troy Mitchell, Company Manager Sara Pullen, Wardrobe Supervisor Elisabeth Reiter, Assistant Stage Manager
AileyCamp And Arts-In-Education
Sharon Williams, Director
Cristine Dhimos, AileyCamp Too! CoordinatorDirector
CASAileyCamp Noel Cabossa, Co-Director CASAileyCamp
Ailey Boutique
Fine Arts Merchandising Ensemble, Inc. Colette Hawkins, Product Development and Merchandising Director
Alvin Ailey American Dance Theater has released a new two-CD Deluxe Box Set featuring the full music of Revelations as well as songs from thirteen other of Ailey's most beloved works.
Visit the Alvin Ailey American Dance Theater on the Internet at
Lighting system provided by Production Arts Lighting.
Domestic sound system provided by Entertainment Sound
International freight forwarding provided by Rock-it-Cargo.
Recording and mastering studios provided by City Sound
Domestic trucking services provided by Stage Call
Air travel arranged by Marjorie Agriss of Pisa Brothers Travel.
Arena Advertising is the official publisher and exclusive sales representative for the Alvin Ailey Official Souvenir Magazine.
The Artists appearing in this performance are members of the American Guild of Musical Artists AFL-CIO, the labor union representing professional dancers, singers and staging person?nel in the United States, and the International Alliance of Theatrical Stage Employees (IATSE).
North American Touring Contact ICM Artists, Ltd.
International Touring Contact Paul Szilard Productions, Inc.
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 convenient 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 person. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reserva?tion priority.
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:
Paesano'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
Ren?e 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
Join 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!
'ackage price ranges from $200 to $225 per couple depending ipon performance (subject to availability) and includes wo nights stay, breakfast, high tea and two priority reserved ickets to the performance.
The Bell Tower Hotel & ;scoffier Restaurant
300 South Thayer 734.769.3010 for reservations
ine dining and elegant accommodations, along with priority (eating to see some of the world's most distinguished per-orming 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)
I. Ian. 16
i. Ian. 29
Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
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, ire-show dinner reservations at Escoffier restaurant in the
Tower Hotel, and two performance tickets with preferred iting reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri. Apr. 23
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-perfortnance 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 jewel-
ry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and deliv?ered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarm-ing 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 November 15, 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.
Individuals Charlotte McGeoch Randall and Mary Pittman Herbert Sloan Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis 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
Individuals Herb and Carol Amster Carl and Isabelle Brauer Sally and Ian Bund Kathleen G. Charla Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Jim and Millie Irwin Elizabeth E. Kennedy Leo and Kathy Legatski Prudence and Amnon Rosenthal Carol and Irving Smokier Ron and Eileen Weiser
Aetna Retirement Services Arbor TemporariesArbor Tech?nicalPersonnel Systems.Inc. Brauer Investments Elastizell Corp of America IBM
Masco Corporation McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation Edward Surovell Realtors TriMas Corporation WDET WEMU WGTE WMXD
Foundations Heartland Fund Benard L. Maas Foundation John S. and James L. Knight
Foundation New England Foundation for the
Arts, Inc.
Edward Surovell and Natalie Lacy
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
Weber's Inn
Maurice and Linda Binkow
Beverley and Gerson Geltner
Charles N. Hall
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Mr. David G. LoeselCafe Marie
Robert and Ann Meredith
Marina and Robert Whitman
Bank of Ann Arbor
Blue Nile Restaurant
Butzel Long Attorneys
Cafc Marie
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(ofR.&P. Heydon) Institute for Social Research
Individuals Martha and Bob Ause Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Mr. and Mrs. William Brannan Barbara Everitt Bryant Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne 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 Norm Gottlieb and
Vivian Sosna Gottlieb Keki and Alice Irani Dean and Gwen Louis Paul and Ruth McCracken Murray Pitt
John 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 ?. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf Sudios AT&T Wireless CFI Group Comerica
Dennis Dahlmann, Inc. Environmental Research Institute of Michigan ERIM International Inc Ideation, Inc. Joseph Curtin Studios Main Street Ventures Red Hawk Bar and Grill Regency Travel Republic Bank 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 Alf Studios
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 Ron and Mimi Bogdasarian Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence Boxer, M.D.;
Grace J. Boxer, M.D. Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Edwin and Judith Carlson Jean and Kenneth Casey Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Mary K. Cordes Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Molly and Bill Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman Stefan S. and Ruth S. Fajans David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L 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 Sue and Carl Gingles Linda and Richard Greene Frances Greer Alice Berberian Haidostian Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Terry Hirth Julian and Diane Hoff 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 Charles and Linda Koopmann Michael and Phyllis Korybalski Dimitri and Suzanne Kosacheff Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Lester and Jeanne Monts Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Joe and Karen Koykka O'Neal 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 Ricketts Barbara A. Anderson and
John H. Romani Gustave and Jacqueline Rosseels Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Roy and JoAn Wetzel Elizabeth B. and
Walter P. Work, Jr.
The Barfield CompanyBartech Bodywise Therapeutic Massage Consulate General of the
Federal Republic of
Patton Corporation Howard Cooper, Inc. The Monroe Street Journal O'Neal Construction Charles Reinhart Company Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science and
Harold and Jean Grossman
Family Foundation ). F. Ervin Foundation The Lebensfeld Foundation Montague Foundation Nonprofit Enterprise at Work Rosebud Foundation Rosalie Edwards
Vibrant Ann Arbor Sarns Ann Arbor Fund
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and
Eric Potoker
Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Henry J. Bednarz Ralph P. Beebe P. E. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Don and Betts Chisholm Janice A. Clark John and Nancy Clark Leon and Heidi Cohan James and Constance Cook Mr. and Mrs. Howard Cooper Susan and Arnold Coran H. Richard Crane Alice B. Crawford Delia DiPietro and
Jack Wagoner, M.D. Charles and Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green David and Lynn Engelbert Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Clare M. Fingerle James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg
4 2 Benefactors, continued
Paul and Anne Glendon
Dr. Alexander Gotz
Dr. and Mrs. William A. Gracie
Elizabeth Needham Graham
Dr. John and Renee M. Greden
Lila and Bob Green
ohn and Helen Griffith
Leslie and Mary Ellen Guinn
Helen C. Hall
Mr. and Mrs. Elmer F. Hamel
Robert and Susan Harris
Susan Harris
Walter and Dianne Harrison
Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Taraneh and Carl Haske
Bob and Lucia Heinold
Mr. and
Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye 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 Kfingler Philip and Kathryn Klintworth Jim and Carolyn Knake Barbara and Charles Krause Samuel and Marilyn Krimm Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Lee E. Landes
Jill Latta and David S. Bach John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Myron and Bobbie Levine Jeffrey and lane Mackie-Mason Mark Mahlbere Edwin and Catherine Marcus Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Joseph McCune and
Georgiana Sanders Thomas B. and
Deborah McMullen Walter and Ruth Metzger Myrna and Newell Miller John and Michelle Morris 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 Shirley and Ara Paul Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Ricnard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia Katherine and William Ribbens Ken Robinson Mrs. Doris E. Rowan Maya Savarino and
Raymond Tamer Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeofrrey K. Stross Bob and Betsy Teeter James L. and Ann S. Telfer Scott Bennett Terrill Mrs. E. Thurston Thieme Marilyn Tsao and Steve Gao 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 Williams Frank E. Wolk J. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Mr. and Mrs. Edwin H. Young Nancy and Martin Zimmerman
Arts Management Group
Bella Ciao Trattoria
Cooker Bar and Grille
Edwards Brothers, Inc.
Gandy Dancer Restaurant
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Perfectly Seasoned
UVA Machine
The Kennedy Center for the Performing Arts
M. Bernard Aidinoff 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 Jonathan and Marlene Ayers Essel and Menakka Bailey Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Norman E. Barnett Leslie and Anita Bassett Scott Beaman Astrid B. Beck and
David Noel Frcedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Ronald J. Bienkowski Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph 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 James S. Chen Dr. Kyung and Young Cho Robert J. Cierzniewski Nancy Cilley Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Kathleen J. Crispcll and
Thomas S. Porter
Mary R. and John G. Curtis
Ed and Ellie 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
Sieve and Lori Director
Dr. and Mrs. Edward F. Domino
Thomas and Esther Donahue
Eugene and Elizabeth Douvan
Prof. William Gould Dow
lane E. Dutton
Martin and Rosalie Edwards
Joan and 1 mil Engel
Susan Feagin and John Brown
Reno and Nancy Feldkamp
Carol Finerman
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons lennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Ronald Fracker
Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lcla J. Fuester David J. Fugenschuh and
Karey Leach
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 Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefner and
Cynthia J. Stewart Yoshiko Hamano Thomas and Connie Heffner Kenneth and Jeanne Heininger lohn L. and
lacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson lack and Davetta Homer Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunsche Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson
Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Steven R. Kalt and
Robert D. Heeren 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 James and Jane Kister Dr. David E. and Heidi Castleman Klein Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du John and Margaret Laird Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Frank Legacki and Alicia Torres Mrs. Jacqueline H. Lewis Lawrence B. Lindemer Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Naomi E. 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 Irwin and Fran Martin Sally and Bill Martin Margaret W. Maurer Jeffrey 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 Miedler Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun
Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Steve and Christine Nowaczyk Mrs. Charles Overbcrger Dr. Owen Z. and
Barbara Perlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips Roy and Winnifred Pierce 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
ferry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince I. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart John and Marilyn Rintamaki James 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 Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and Eliana Sorokin Dr. Hildreth H. Spencer Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Nancy Bielby Sudia 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 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 Westcrman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Christine and Park Willis Thomas and Iva Wilson Charlotte Wolfe Mr.andMrs.A.CWooll Phyllis B. Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Alice Simsar Fine Art, Inc. Ann Arbor District Library Atlas Tool, Inc. Borders Books and Music Coffee Express Co. General Systems
Consulting Group Jenny Lind Club of Michigan, Inc. John Leidy Shop, Inc. Scientific Brake and Equipment
Company Swedish American Chamber
of Commerce
The Sneed Foundation, Inc.
Jim and Jamie Abelson John R. Adams Tim and Leah Adams Irwin P. Adelson, M.D. Michihiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardyce Mike Allemang James and Catherine Allen Richard and Bcttye Allen Nick and Marcia Alter Richard Amdur Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Catherine M. Andrea Timothy and Caroline Andresen Dr. and Mrs. Dennis L. Angcllis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnctt Dwight Ashley
Mr. and Mrs. Dan E. Atkins HI Eric M. and Nancy Auppcrle Erik and Linda Lee Austin Eugene and Charlcne Axelrod Shirley and Don Axon Virginia and Jerald Bachman Lillian Back Jane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and luh.i Huttar Bailey Robert L. Baird Bill and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Maxinc and Larry Baker Drs. Helena and Richard Balon John R. Barcham David and Monika Barcra
44 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Roscmarie Bauer
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Beckley and Judy Dinesen Nancy Bender Walter and Antje Benenson Harry and Betty Benford Moete and Erling Blondal Bengtsson Bruce Bcnner loan and Rodney Bentz Mr. and Mrs. 1b Bcntzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Bcrki
Abraham and Thelma Berman 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 R. Bczak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes lack and Anne Birchfield William and Mene 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 J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbely Lola J. Borchardt Jeanne 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 Lcla Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop ]udy and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage
Louis and Janet Callaway H. D. Cameron fenny Campbell (Mrs. D.A.) Michael and Patricia Campbell Robert and Phyllis Carlson James and Jennifer Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny William and Susan Chandler . Wehrley and Patricia Chapman Joan and Mark Chesler Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Mark Claguc and Anne Vanden Belt Brian and Cheryl Clarkson Charles and Lynne Clippert 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
Carolyn and L. Thomas Conlin
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
George H. and Connie Cress
Mary C. Crichton
Lawrence Crochier
Constance Crump and Jay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard I. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylcc Dalton
Robert and Joyce Damschroder
Lcc and Millie Daniclson
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Merial 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 F. Decker Rossanna and George DeGrood Penny and Laurence B. Deitch Elena and Nicholas Delbanco 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 Dolega
Heather and Stuart Dombey Fr. Timothy J. Dombrowski Steven and Paula Donn Thomas Doran Deanna and Richard Dorner Dick and Jane Dorr Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs Janet Driver
DaJe R. and Betty Berg Drew John Dryden and Diana Raimi Robert and Connie Dunlap Edmund and Mary Durfee John W. Durstine Charlotte K. Eaton Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Mr. and Mrs. Richard Edgar Sara and Morgan Edwards fudge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and lean 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
Mr. and Mrs. Robert B. Fair. )r.
Barbara and Garry C. Faja
Mark and Karen Falahcc
Elly and Harvey Falit
Thomas and Julia Falk
Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr.
Walter Federidn
Inka and David Felbeck
Phil and Phyllis Fell m
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 fames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Dcbra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Fluckc
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Fromes Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Thomas H. Galantowicz In,mn Gargaro Helen and Jack Garris C Louise Garrison Mr. lames C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. H.irl.m Gilmore Beverly Jeanne Gil trow Ilan Gittlcn
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 Gornbosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss
Naomi Gottlieb and Theodore Harrison DDS Sin 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 Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grilk Margaret Grillot Laurie Gross Kay Gugala
Carl E. and Julia H. Guldberg Mr. and Mrs. Lionel Guregian
loseph and Gloria (iuH Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Mrs. William HaTstead Mrs. Frederick G. Hammitt Dora E. Hampel Lourdes S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Sarath and loan Harris Robert and Jean Harris Jerome P. Hartweg Elizabeth C. Hassincn Ruth Hastie
fames B. and Roberta Hausc Jeannine and Gary Hayden Mr. and Mrs. Edward I. Hayes Derek and Cristina Heins Mrs. Miriam Heins Jim and Esther Heitlcr Sivana Heller
Margaret and Walter Helmreich Paula B. Hencken Dr. and Mrs. Keith S. Henley Bruce and Joyce Herbert Ada Herbert Roger F. Hewitt Hiroshi Higuchi Peter G. Hinman and
Elizabeth A. Young Carolyn Hiss James C. Hitchcock Jane and Dick Hoerner Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke fohn and Donna Hollowell Howard L. and Pamela Holmes Ken and Joyce Holmes Hisato and Yukiko Honda Arthur G. Horner, Jr. Dave and Susan Horvath Dr. Nancy Houk Dr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison 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 WinkJcman Hulce Kenneth Hulsing Ann D. Hungcrman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouscr Imber Edward C. Ingraham Margaret and Eugene Ingram Perry Irish
Sid and Harriet Israel Judith G. Jackson Dr. and Mrs. Manuel Jacobs Mr. and Mrs. Donald E. Jahncke Robert and Janet James Professor and Mrs. Jerome Jelinek Keith and Kay Jensen JoAnn J. Jeromin Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Andree Joyaux and Fred Blanck Tom and Marie Juster Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Nick and Meral Kazan
Julia and Philip Kearney
William and Gail Kcenan
Janice Keller
James A. Kelly and Mariam C. Noland
John B. Kennard
Bryan Kennedy
Frank and Patricia Kennedy
Linda Atkins and Thomas Kenney
Paul and Leah Kiieny
Jeanne M. Kin
William and Betsy Kincaid
Paul and Dana Kissner
Shira and Steve Kk-in
Drs. Peter and Judith Kleinman
John and Marcia Knapp
Mr. and Mrs. Jack Knowles
Patricia and Tyrus Knoy
Shirley and Glenn Knudsvig
Rosalie and Ron Koenig
Ann Marie Kotre
Dick and Brcnda Krachenberg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
Jane Laird
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Marjorie Lansing
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 Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Lcona Leonard Sue Leong Margaret E. Leslie Richard LeSueur David E. Levine George and Linda Levy Donald ). and Carolyn Dana Lewis ludith Lewis Norman Lewis Thomas and Judy Lewis Mark Lindley and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lineback Rod and Robin Little Jane Lombard Patrick B. and Kathy Long Ronald Longhofer Luisa Lopez-Grigera Richard and Stephanie Lord Helen B. Love Robert G. Lovell Donna and Paul Lowry Pamela and Robert Ludolph Mr. and Mrs. Carl J. Lutkehaus Susan E. Macias Lois and Alan Macnee Walter A. Maddox Suzanne and Jay Mahler Hans and Jackie Maier Ronald and Jill Donovan Maio Deborah Malamud and
Neal Plotkin William and Joyce Malm Claire and Richard Malvin Melvin and Jean Manis Pearl Manning Howard and Kate Market Lee and Greg Marks Alice and Bob Marks Frederick, Deborah and
James Marshall Khoda and William Martel Ann W. Martin Rebecca Martin Dcbra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard
Michcline Maynard
LaRuth McAfee
Dores M. McCree
Jeffrey T. McDole
James and Kathleen McGauk-y
Eileen Mclntosh and
Charles Schaldcnbrand Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver Bill and Ginny McKeachic Daniel and Madelyn McMurtrie Nancy and Robert Meader Robert and Doris Melling Allen and Marilyn Menlo Hely Merle-Benner Jill McDonough and
Greg Merriman Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Francis and Helen Michaels William and Joan Mikkelsen Carmen and Jack Miller Robert Rush Miller John Mills Olga Moir
Dr. and Mrs. William G. Moller, Jr. Patricia Montgomery Jim and Jeanne Montie Rosalie E. Moore Arnold and Gail Morawa Robert and Sophie Mordis Jane 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 Laura and Chuck Musil Rosemarie Nagel Penny H. Nasatir Isabelle Nash Susan and Inn Newton ohn and Ann Nickfas Susan and Richard Nisbett Gene Nissen
Laura Nitzberg and Thomas Carli Donna Parmelee and
William Nolting Richard S. Nottingham Dr. Nicole Obregon Patricia A. C. O'Connor C. W. and Sally O'Dell Nels and Mary Olson Paul L. and Shirley M. Olson Mr. J. L.Oncley Zibby and Bob Oneal Kathleen I. Operhall Dr. Jon Oscherwitz Mitchel Osman, M.D. Elisa A. Ostafin 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 J. Patterson Nancy K. Paul P. D. Pawelski Edward J. Pawlak Sumer Pck and Marilyn Katz-Pek 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
Robert and Mary Pratt
Jacob M. Price
Joseph and Mickey Price
Ernst Pulgram
MaJayatt Rabindranathan
Patricia Randle and James Eng
Al and Jackie Raphaelson
Dr. and Mrs. Robert Rapp
Mr. and Mrs. Robert H. Rasmussen
Maxwell and Marjorie Reade
Michael Ready
Gabriel M. Rebeiz
Katherine R. Reebel
Stanislav and Dorothy R. Rehak
John and Nancy Reynolds
James and Helen Richards
Elizabeth G. Richart
Dennis J. Ringlc
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
Charles W. Ross
Dr. and Mrs. Raymond W. Ruddon
Dr. and Mrs. Robert Ruskin
Bryant and Anne Russell
Scott A. Ryan
Mitchell and Carole Rycus
Ellen and Inn Saalberg
Theodore and Joan Sachs
Arnold Sameroff and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Maryjo Sandberg
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
Gerald and Sharon Schreiber
David E. and Monica N. Schteingart
Albert and Susan Schultz
Aileen M. Schulze
Alan and Marianne Schwartz-Schwartz Family Fdtn.
Ed and Sheila Schwartz
Ruth Scodcl
Jonathan Bromberg and Barbara Scott
David and Darlene Scovell
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 J. N. Shanberge
Brahm and Lorraine Shapiro
Matthew Sharipo and Susan Garetz
David and Elvera Shappirio
Maurice and Lorraine Sheppard
Dan Sherrick and Ellen Moss
Rev. William J. Sherzer
George and Gladys Shirley
Jean and Thomas Shope
Hollis and Martha A. Showatter
Mary Alice Shulman
John Shultz
Ned Shure and Jan Onder
John and Arlene Shy
Douglas B. Siders, M.D.
Dr. Bruce M. Siegan
Mr. and Mrs. Barry J. Siegel
Milton and Gloria Siegel
Drs. Dorit Adler and Terry Silver
Michael and Maria Simontc
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
Irma J. Sklenar
Beverly N. Slater
Tad Slawecki
J. Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
lames A. Somers
Judy Z. Somers
Mr. and Mrs. Edward J. Sopcak
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Shawn Spillane
Charles E. Sproger
Edmund Sprunger
Mary Stadel
Burnette Stacblcr
David and Ann Staiger
Constance Stankrauff
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Stcck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stempicn
William and Georgine Stcude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L Stoddard
Robert and Shelly Stoler
EUen M. Strand and Dennis C Regan
Mrs. William H.Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Earl and Phyllis Swain
Rebecca Sweet and Roland Loup
John and Ida Swigart
PegTalburtt and Jim Peggs
Jim and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Margi and Graham Tcall
Leslie and Thomas Tentler
Catherine and Norman Thoburn
Bette M. Thompson
Peggy Tieman
Mr. and Mrs. W. Paul Tippett
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townlcy
Jim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Mcrling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
AK .in and Katharine Uhle
Mr. and Mrs. Bryan D. Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandcrsypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
J. Kevin and Lisa Vasconi
Phyllis Vegter
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bca Nergaard
Jane and Mark Vogel
Mr. and Mrs. Theodore R. Vogt
John and Jane Voorhorst
Jerry Walden and
Julia Tiplady-Walden George S. and Lorraine A. Wales Richard and Mary Walker Drs. Philip Warren and Marica Lucia Pinzon Lorraine Nadelman and
Sidney Warschausky Edward C.Weber Mr. and Mrs. Roy Weber
4 6 Advocates, continued
Jack and Jerry Weidcnbach
Carolyn ). Weiglc
Gerane and Gabriel Weinreich
Lawrence A. Wcis
Donna G. Weisman
Barbara Weiss
Carol Campbell Welsch and
John Welsch
John and Joanne Werner Rosemary and David Wescnberg Tim and Mim Wcsterdale Ken and Cherry Westerman Susan and Peter Westerman 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 fan Z Winkclman Beth and I. W. Winsten Mr. and Mrs. Eric Winter James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzberg 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 David and April Wright Fran and Ben Wylie Sandra and Jonathan Yobbagy Mr. Frank Yonkstetter James 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 Dr. H.W. Bennett & Associates Bodywise Therapeutic Massage The BSE Design Group, Inc. Doan Construction Co. Garris, Garris, Garris &
Garris Law Office Kupelian Ormand & Magy, P. C. Lewis Jewelers Mundus & Mundus, Inc. Organizational Designs Pen in Hand
Staples Building Company SWEA Inc. Zepeda and Associates
Schwartz Family Foundation
Tfie Burton Tower Society is a very special group of University Musical Society friends. Tliesc 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 Amstcr Mr. Neil P. Anderson Catherine S. Arcure Mr. and Mrs. Pal E. Barondy Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chalas
Mr. and Mrs. John Aldcn 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 Niehoff
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
AJf Studios
Arbor TemporariesPersonnel
Systems Inc.
Bank of Ann Arbor
Barfield CompanyBartech
Beacon Investment Company
Blue Nile Restaurant
Brauer Investments
Butzel Long Attorneys
CFI Group
Charles Reinhart Company Realtors
Deloittc & louche
Elastizell Corporation
Environmental Research Institute
of Michigan
ERIM International
First of America Bank
Forest Health Services Corporation
Ford Motor Company
General Motors Corporation
Howard Cooper, Inc.
Joseph Curtin Studios
Main Street Ventures
Masco Corporation
McKinlcy Associates
Mechanical Dynamics
Miller, Canfield, Paddock and Stone
NBD Bank
NSK Corporation
O'Neal Construction
The Paideia Foundation
Parke-Davis Pharmaceutical
Pepper, Hamilton & Scheetz Red Hawk Bar & GrUl Regency Travel Republic Bank Scsi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science and
Technology Target Stores Edward Surovell Realtors Thomas B. McMullen Company Weber's Inn Zanzibar
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krczel, Sr. {Catherine Mabarak Josip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
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 VandenBelt
Francis Viola III
Carl H. Wilmot
Peter Holderness Woods
Helen Ziegter
Bernard and Ricky Agranoff
Gregg Alf
MariAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcure
Bella La Vic
Kathleen Bcnton
Maury and Linda Binkow
Bob Caron's Golf Shop
Edith Leavis Bookstein &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant leanninc Buchanan Butzcl Long Isabella Cederquist Tomas Chavez Chelsea Flower Shop Chicago Symphony Orchestra Chris W. Peterson Jewelry Claridge Hotel Classic Collegiate China Leon and Heidi Cohan Conlin Travel Karin Wagner Coron Dr. and Mrs. Ronald Cresswell Mary Ann and Roderick Daane David Smith Photography Peter and Norman Davis Dough Boys Bakery Encore Studio
Eyry of the Eagle Publishing Fitness Success Sara B. Frank Gallery Van Glahn The Gandy Dancer Gates Au Sable Lodge Beverly and Gerson Geltner Generations for Children Georgetown Gifts Joyce and Fred Ginsberg Anne and Paul Glendon The Great Frame Up Great Harvest Bread Company Gregg Alf Studios Jeanne Harrison Dr. Tina Goodin Hertel Terry Hirth and Bodywise Therapeutic Massage Dan Huntsberger Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John Shultz Photography John Sloan Painting John's Pack & Ship Mercy and Stephen Kasle Kcrrytown Market & Shops King's Keyboard House Ed Klum U of M Golf Course Sam Knecht Bruce and Ronna Romney Kulp
Laky's Salon
Bcrnice Lamcy
Maxinc Larrouy
Carole Lasser
Learning Express
Kathleen Letts
Lctty's Ltd.
Doni Lystra
Stephanie Lord
Esther Martin
Mary Matthews
Elizabeth McLeary
Jeanne and Ernest Merlanti
Michigan Car Services, Inc.
Moe Sport Shops
Robert and Melinda Morris
Nicola's Books Little Professor
Off the Wall Designs
Christine Oldenburg
Karen O'Neal
Mary Pittman
R. Jeffrey Lamb Photography
Pat Poolcy
leva Rasmussen
Rebecca's Studio
Regrets Only
Nina Hauscr Robinson
Anne Rubin
Maya Savarino
Peter Savarino
Sarah Savarino
Ann and Tom Schriber
Grace Schackman
Mike and Jan Shatusky
Ingrid Sheldon
Grace Singleton
Loretta Skewes
Herbert Sloan
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bengt and Elaine Swenson
Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Andrea Van Houweling
Eric Wapnick
Emil Weddige & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhouse
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 Music Matters
UMS members have helped to make possible this 120th 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
17 Ann Arbor Acura
38 Ann Arbor Reproductive
12 Ann Arbor Symphony
38 Arborcrest Memorial Park
26 Arriba
17 Associated General
30 Azure Mediterranean Grille
18 Bank of Ann Arbor
31 Beresh lewelers
11 Bodman, Longley, and
34 Butzel Long
36 Charles Reinhart Co.
?t: Chelsea Community
12 Chris Triola Gallery
50 Comerica Bank
12 Dobbs Opticians
48 Dobson-McOmber
29 Edward Surovell Realtors
32 Emerson School
:?! ERIM International
25 Ford Motor Company
32 Foto 1
19 Fraleigh's Nursery
27 Glacier Hills
50 Harmony House
34 Harris HomesBayberry
27 Howard Cooper Imports
35 Individualized Home Care

47 Jim Bradley PontiacGMO
24 Kerrytown Bistro 28 King's Keyboard House 15 KeyBank
50 John Leidy Shops, Inc. 11 Lewis Jewelers 30 McGlynn & Gubbins
32 Miller, Canfield, Paddock, and Stone
Mir's Oriental Rugs
Mundus & Mundus
NBD Bank
Nina Howard Spa & Gifts
Pen in Hand
Performance Network 26 Quinn Evans Architects 19 Red HawkZanzibar
SKR Classical
Sweet Lorraine's
Sweetwaters Cafe
Ufer and Co.
U-M Matthaei Botanical Gardens
University Productions
Wexford Homes
Whole Foods

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