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UMS Concert Program, Thursday Apr. 22 To 25: University Musical Society: 1998-1999 Winter - Thursday Apr. 22 To 25 --

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Season: 1998-1999 Winter
University Of Michigan

Kodo David Daniels Martin Katz James Galway Abbey Lincoln iakacs Quartet Alvin A Hey American Dance Theater The [aHis Scholars Gypsy Caravan Sweet Honey in the Rock rio Fontenay Steve Reich Ensemble Mozarteum Orchestra f Salzburg [Cuban ismo! Ewa Podle's Garrick Ohlsson Jniversity Musical Society of the University of MichiganWinter 1999 Season
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
Ken Fischer (r) with Michael Kondziolka
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
Richard L Huber
Chairman and CEO, Aetna, Inc. On behalf of Aetna and Aetna Retirement Services, we are proud to support the arts in southeastern Michigan,
especially through our affiliation with Tlie 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
resident. Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more 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 Iresident, Arbor TemporariesPerson nel Systems, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
HABTE DADI Manager, Blue NiU Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
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, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
Chairman of the Board and Chief Executive Officer, Con tin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI 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
"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."
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."
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." oz
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."
Miller, Canfield,
Paddock and Stone,
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
First Vice President and Manager, FCNBD Batik "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, Multihguc "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."
Joseph Sesi President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
DR. JAMES R. IRWIN Chairman and CEO, The Jrwin Group of Companies. President, Wolvenne 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."
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."
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."
Managing Partner, Pepper, Hamilton & Schectz "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 (hat the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
Foundation Underwriters & Government Agencies
Benard L. Maas
"The Benard L. Maas
Foundation is proud
to support the
Benard L Maas University Musical Society in honor of its beloved founder: Benard L. Maas February 4,1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following founda?tions and government agencies:
arts midwest
benard l maas foundation
Chamber Music America
The Heartland Fund
kmd foundation
lila Wallace-Reader's digest fund
Michigan Council for the Arts
and Cultural Affairs National endowment for the Arts Rosebud foundation
University Musical Society of the university of Michigan
BOARD OF DIRECTORS Beverley B. Geltner, Chair Letitia J. Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Feathcrman, Treasurer Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David J. Flowers Alice Davis Irani Stuart A. Isaac Gloria James 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 (farmer 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 Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms James J. Duderstadt
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. Kinncar Patrick B. Long
ludythe 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 lerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Croup Sales 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 I. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Education Audience
Ben Johnson, Director
Kate Remen, Manager
Susan Ratcliffe, Coordinator
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Kathi Reister, Head Usher Paul Jomantas, Assistant Head
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study lull.m.i Athayde Laura Birnbryer Rebekah Camm Jack 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 Schnitker
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
loyce 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 Ostafin 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
Alana Barter
Elaine Bennett
Lynda Berg
Barbara Boyce
Letitia J. Byrd
Naomi Corera Carolyn Hanum Taylor Jacobsen Callic Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Weinch
Tfie University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or disability. The 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.
University Musical
oOClcTV of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong 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.
UMS Choral Union
Thomas Sheets, conductor
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 of Gerontius 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 Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly 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
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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 lohhy 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, January L6, 2 p.m., Power (ienter. 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 Surovcll 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, lanuary 29, 8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LcSueur, Vocal Arts
Information Services, Fri, Ian 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 Surovcll 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" hy composer Kenneth Fuchs, Mon, Feb 8,12 noon, School of Music, Room 2033. Sponsored by Edward Surovell Realtors with support front 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, February 12 Saturday,
February 13,8 P.M. Power Center
Brown-bag Lunch "Chance Patterns: Historic Moments in 50 years of Men.i: Cunningham's Choreography" by Kate Rcmcn at the Institute for the Humanities on Mcrce Cunningham. Tue, Jan 12,12 noon, LT-M Institute for the Humanities. Merce Cunningham Mini Course--U-M under-grad and grad students earn 2 credit hours of Independent Study with I lay I telanghe with materials drawn from the Merce Cunningham Residency. Mass meeting held on January 9, 12 noon, U-M Dance Building, Studio A, or email delanghe? 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 (? which culminates in a free performance and reception at the Power Center on Wed, Feb 10; Workshop held at the Ann Arbor Art Center and Dance GalleryPeter Sparling ik 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 blforma 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 An Center in conjunction with the Merce Cunningham Dance Company Residency. Mon, Feb, S, 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 (lenter in conjunction with the Merce ()uflningham 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, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the Ann Arbor Public Schools, inspired by Mcrce ('unningham on display in the Power Center Lobby, Fcb 1-14. Brown-bag Lunch at the Institute for the Humanities on lohn Cage's Cartridge Music presented by Laura Kuhn, Director of the lohn Cage Trust, and U-M Professor Stephen Rush. Tues, Feb 9, 12 noon. U-M Institute tor 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 (-unningham interviewed by Roger Copeland, Professor of Theater and Dance at Oberlin College. Thu, Feb 11,7 p.m. U-M Dance Building, Betty Pease Studio. Advanced Technique Master Classes taught by Meg Harper, Chair of the Cunningham Studio, at the U-M Dance ! lepartment, 10 places per class and 10 observers open to the public. Eight classes available: Tues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and I-'ri. Feb HI and 12, 12:45 p.m. and 2:30 p.m. Call 734-763-5460 to register.
LifeForms--Computers and (Ihoreography 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] David 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 tile Mage, Fri, Feb 12. Advanced Technique Master Class taught by Robert Swinston, Assistant to the ( horeographer. 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, I p.m., Power Center balcony. For more information and registration please call 734-647-d712.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Sat, Feb
13, 7 p.m., Michigan league, I lussey Room. Media Partner WDETand 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 CFI Group.
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, Husscy 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.
DAVID DANIELS, COUNTERTENOR MARTIN KAT2, PIANO Sunday, March 7,4 P.M. Lydia Mendelssohn Theatre
Thursday, March 11, 8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE.
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
TAKACS QUARTET Thursday, March 18, 8 P.M. Rackham Auditorium
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video 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, Hussey 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 Pittman. Media Partner WDET.
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. Sat, March 27, 2 p.m. Rackham Amphitheater and Assembly Hall.
PREP "A Rhetoric of Disintegration" by Steven Whiting, U-M Assistant Professor ot 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,
Vandenberg 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 of Ewa Podles" by Richard LeSueur, 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 WDETand Metro Times.
PREP Kenn Cox, Professor of Music at Michigan State and Nfayne State Universities, interviews members of the Lincoln ("enter la Orchestra, lri, April 23, 7 p.m., Michigan League, Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WCTE.
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 Thursday, April 22,1999 through Sunday, April 25,1999
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 an 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.
Monsters of Grace 3
A Digital Opera in Three Dimensions Philip Glass Ensemble
Thursday, April 22, 8:00pm Michigan Theater
Lincoln Center Jazz Orchestra 15
A Centennial Celebration of Duke Ellington
Friday, April 23, 8:00pm Hill Auditorium
NHK Symphony Orchestra of Tokyo 29
Sunday, April 25, 4:00pm Hill Auditorium
Contemporary Directions
UMS Co-Commission!
Laurie Anderson Moby Dick________
Thursday, September 30, 8 p.m. Friday, October 1, 8 p.m. Saturday, October 2, 8 p.m. Power Center
Sankai Juku Hiyomeki_________
Wednesday, October 27, 8 p.m. Power Center
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Schlime, piano
UMS Choral Union______
Monday, January 24, 8 p.m. Hill Auditorium
Meredith Monk Magic Frequencies
A Science Fiction Chamber
Wednesday, February 9, 8 p.m. Power Center
UMS Co-Commission!
Martha Clarke Vers la flamme
Christopher O'Riley, piano
Friday, February 11,8 p.m. Power Center
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater
Contemporary Multi-Media Works
Representing the Creative Forces at Work in the World Today
800-221-1229 WWW.UMS.ORG
A Digital Opera in Three Dimensions
Philip Glass,Music Robert Wilson, Visual Concept
Philip Glass Ensemble
Philip Glass, Keyboards
Dan Dryden, Live Sound Mix
Jon Gibson, Flute, Bass Flute, Clarinet, Soprano Saxophone
Richard Peck, Tenor, Soprano and Alto Saxophones
Michael Riesman, Keyboards
Eleanor Sandresky, Keyboards
Andrew Sterman, Flute, Bass Flute, Piccolo, Soprano Saxophone
Vocalists Marie Mascari, Soprano Alexandra Montano, Mezzo-soprano Gregory Purnhagen, Baritone Peter Stewart, Baritone
Michael Riesman, Music Director Kurt Munkacsi, Sound Design
Thursday Evening, April 22, 1999 at 8:00 Michigan Theater, Ann Arbor, Michigan
Where Everything Is Music
joined by Mascari, Montano, Stewart
The Needle
Don't Go Back to Sleep
Mascari, Montano, Purnhagen, Stewart
In the Arc of Your Mallet
My Worst Habit
Like This
Mascari, Montano, Purnhagen, Stewart
Mascari, Montano, Purnhagen, Stewart
Let the Letter Read You
Boy, Beach and Ball
They Say That Paradise Will be Perfect
Mascari, Montano, Purnhagen, Stewart
The New Rule
An Artist Comes to Paint You
Mascari, Stewart
Boy on Fire
Mascari, Montano, Purnhagen, Stewart
This evening's program is approximately seventy-three minutes long and is performed without intermission.
of the 120th Season
Support for this performance is provided by media partners, WDET and Metro Times.
Monsters of Grace is a MOG Project: International Production Associates, Inc., New York City in association with Top Shows, Inc.
Funding provided from the AT&T Foundation, l.a. Eyeworks, Opera America, Philip Morris Companies Inc. and Mr. & Mrs. Sidney Lewis.
The photographing
or sound recording of
this concert or possession Unda Greenberg, Jedediah Wheeler, Producers
of any device for such Jedediah Wheeler, Executive Producer
photographing or sound
recording is prohibited.
Large print programs are available upon request.
Jalaluddin Rumi
Translated and Adapted from the Original by
Coleman Barks
Visual Realization and Computer Animation
Kleiser-Walczak Construction Company
Film Direction
Diana Walczak and Jeff Kleiser
Visual Design Consultant
Giuseppe Frigeni
Sound Design
Kurt Munkacsi
Philip Glass (Composer, Keyboards) was born in Baltimore. Glass grad?uated from the University of Chicago, where he had studied mathematics and philosophy, at the age of nineteen. Determined to become a composer, he moved to New York to attend The Juilliard School. By the time he was twenty-three, Glass had studied with Vincent Persichetti, Darius Milhaud and William Bergsma. He had rejected serialism and preferred such maverick composers as Harry Partch, Charles Ives, Moondog, Henry Cowell, and Virgil Thomson, but had not yet found his own voice. After two years of intensive study in Paris under Nadia Boulanger, he was hired by a filmmaker to transcribe the music of Ravi Shankar into notation readable by French musicians and, in the process, discovered the techniques of Indian music. Glass renounced his previous music and, after researching music in North Africa, India and the Himalayas, returned to New York and began applying Eastern tech?niques to his own work.
By 1974, he had composed a large col?lection of new music, much of it for use by the theatre company Mabou Mines (Glass was one of the co-founders of that compa?ny), as well as for his own performing
group, the Philip Glass Ensemble. This peri?od culminated in Music in 12 Parts, a four-hour summation of Glass' new music, and reached its apogee in 1976 with the Philip GlassRobert Wilson opera Einstein on the Beach, the four-and-a half-hour epic now seen as a landmark in twentieth-century music-theater.
Glass' output since Einstein has ranged from opera -Satyagraha, Akhnaten, The Fall of the House of Usher, Hydrogen Jukebox, and The Voyage, commissioned by the Metropolitan Opera; to film scores -Koyaanisqatsi, Mishima, The Thin Blue Line, Powaqqatsi, A Brief History of Time; to sym?phonic works -The Light, Itaipu, The Violin Concerto, Low; to string quartets -Nos. 2-5, recorded by the Kronos Quartet. He has created music for dance -A Descent into the Maelstrom for Molissa Fenley, In the Upper Room for Twyla Tharp; and such unclassifiable theatre pieces as The Photographer, 1000 Airplanes on the Roof and The Mysteries And Wlmt's So Funny.
Among his operatic works are: a trilogy of operas based on the work of Jean Cocteau -Orphee, La Belle et la Bete, and Les Enfants Terribles: Children of the Game, a dance-opera spectacle with choreographer Susan Marshall; and The Marriages Between Zones Three, Four and Five with libretto by author Doris Lessing; recent orchestral works include Songs ofMilarepa for baritone and orchestra and Heroes Symphony, a ballet-symphony based on the music of David Bowie and Brian Eno. Glass received an L.A. Film Critic's Award as well as an Oscar and Golden Globe nomination for Best Original Score for Kundun, a film by Martin Scorsese. Current projects include Wlute Raven, a col?laboration with Robert Wilson which had its world premiere in Lisbon at the World Expo 98, as well as a new choral symphony commissioned by the Salzburg Festival scheduled for world premiere on August 29, 1999.
Philip Glass and Robert Wilson
Philip Glass was made a Chevalier de 1'Ordre des Arts et des Lettres by the French government in 1995 and has been awarded honorary degrees from Brandeis University, The University of the Arts in Philadelphia and The State University of New York in Buffalo.
Tonight's performance marks the Philip Glass Ensemble's second appearance under UMS auspices. They last appeared in April 1995 presenting Jean Cocteau's La Belle et la Bete, an Opera for Ensemble and Film.
Robert Wilson (Visual Concept) is a native of Waco, Texas. Robert Wilson was educated at the University of Texas and New York City's Pratt Institute. By the late 1960s he was acknowledged as one of the leading figures in Manhattan's avant-garde theatre world. Working with his Byrd Hoffman School of Byrds he developed widely-acclaimed pieces such as Deafman Glance (1970) and The Life and Times of Joseph Stalin (1973). His 1976 opera Einstein on the Beach, written with composer Philip Glass, achieved world-wide success and
altered conventional perceptions of opera as an art form.
During the late 1970s and 1980s Wilson worked mostly in Europe, staging original works such as Death, Destruction and Detroit at Berlin's Schaubuhne Theater (1979) and The Golden Windows at the Munich Kammerspiele (1982). He also designed and directed produc?tions from the traditional repertoire, such as Richard Strauss' Salotiw at La Scala in Milan (1987), Wagner's Parsifal (Hamburg, 1991), Mozart's The Magic Flute (Paris, 1991), and Puccini's Madame Butterfly (Paris, 1993).
From 1982 to 1986 Wilson devoted the bulk of his energies to a massive multi?national epic, the CIVIL warS : a tree is best measured when it is down. Created in collab?oration with an international group of artists, including Philip Glass, David Byrne, and Heiner Miiller, Wilson planned this opera as the centerpiece of the 1984 Olympic Arts Festival in Los Angeles. Although the full epic was never seen in its entirety, indi?vidual parts were produced in the United States, Europe and Japan. Audiences in Los Angeles saw the US section -titled The Knee Plays -at the Doolittle Theater in 1986. A number of other Wilson works have appeared in the Los Angeles area. These include was sitting on my patio this guy appeared I thought I was hallucinating (Wilshire Ebell Theater, 1977), and King Lear (Stage One, Metromedia Square, 1985).
Robert Wilson's most recent works include a solo version of Shakespeare's Hamlet; the operas Bluebeard's Castle (Bartok) and Prometeo (Luigi Nono); a dance piece titled Snow on the Mesa commissioned by the Martha Graham Company; a multi-media installation at Munich's Villa Stuck in 1997-98; a new staging of Debussy's Pelleas et Melisande,
presented in Paris and Salzburg in 1997; and an adaptation of Brecht's Oceanlight at the Berliner Ensemble in 1998. In March of 1998 a new production of Wagner's Lohengrin marked Wilson's debut with the Metropolitan Opera.
Wilson's numerous awards and honors include the German Theater Critics award for Best Production of the Year (1990); an Obie award for direction (1986); and the third Dorothy and Lillain Gish Prize for life?time achievement (1996). In 1986 his inter?national epic the CIVIL warS was the sole nominee for the Pulitzer Prize in drama that year.
Robert Wilson wishes to thank the World Sponsors who support his work through contributions to the Byrd Hoffman Foundation: American Friends of the Paris Opera and Ballet, Giorgio Armani, Lily Auchincloss (in memoriam), Irving and Dianne Benson, Pierre Berge, Elaine Terner Cooper, Ethel de Croisset, Christian Eisenbeiss, Marina Eliades, Eric and Martine Franck, Betty Freeman, Agnes Gund, Christoph Henkel, Gabriele Henkel, Donna Karan, Meredith Long, Annalee Newman, Simon de Pury, Katharine Rayner, Mark Rudkin, Gheri Sadder, Louisa Stude, Sarofim, the Juliet Lea Hillman Simonds Foundation, Annaliese Soros, Stanley Stairs, Rowshanak Vakil, Robert W. Wilson, Guy de Wouters, and anonymous donors.
Jalaluddin Rumi (Lyrics) (1207-1273), lived in south-central Anatolia (Konya, Turkey) in the thirteenth century. He is one of the world's great poets and mystics and is cred?ited to be the original whirling dervish. Rumi came from a long lineage of scholars, jurists and theologians, and he eventually succeeded his father as head of the medrese, the dervish learning community. Rumi's poetry was created as part of a constant,
practical and mysterious discourse with this dervish learning community. The focus changed from stern to ecstatic, from every?day to esoteric as the needs of the group arose. Poetry and music and movement were parts of that communal and secretly individual work of opening hearts and exploring the mystery of union with the divine.
The poetry comprising the libretto of Monsters of Grace has been translated from the original Persian by Coleman Barks, the premier translator of Rumi at work today.
Kleiser-Walczak Construction Co. (Visual Realization and Computer Animation) Kleiser-Walczak Construction Company (founded in 1988) is a full-spectrum pro?duction company which specializes in high-end computer graphics for feature films, TV commercials, theme park attractions, educa?tional and artistic projects. Under the direc?tion of partners Jeff Kleiser and Diana Walczak, KWCC has produced ground?breaking animation and imagery for a mul?titude of high-profile projects including The Columbia Pictures Logo, the feature films Stargate (James Spader, Kurt Russell), Clear & Present Danger (Harrison Ford), and Judge Dredd (Sylvester Stallone), as well as Michael Jackson's HIStory album cover, location-based, entertainment-ride films for the Luxor Hotel, Las Vegas, and currently a much anticipated high-tech, ride-film experience for Universal's Spiderman Attraction opening in Orlando, FL in early 1999.
Jeff Kleiser and Diana Walczak have taken a special interest in creating life-like computer characters, which they call Synthespians ?. Drawing on the talents of traditional as well as digital artists, KWCC creates Synthespians through a multi-step process which begins with initial design work, and moves on to the sculpting and digitizing phases, after which the
characters are ready to be brought to life within Silicon Graphics Inc. (SGI) worksta?tions with state-of-the-art graphics software. With offices in Hollywood, New York and company headquarters within the Massachusetts Museum of Contemporary Art in North Adams, Massachusetts, KWCC continues to explore the development of compelling computer-generated characters, environments and effects in order to push the art of film-making into the twenty-first century.
Kurt Munkacsi (Sound Design), president of Euphorbia Productions, has been on the leading edge of music for the past twenty-seven years. His long time association with composer Philip Glass is well known. Mr. Munkacsi has produced all of Glass' com?mercial recordings. He also designed the sophisticated sound systems used for such Glass theatrical works as Einstein on the Beach, Koyaanisqatsi, La Belle et La Bete, and Monsters of Grace. Euphorbia Productions is involved in all aspects of contemporary music -producing soundtracks for such noted directors as Martin Scorsese, Peter Wier, Errol Morris, Paul Schrader and Godfrey Reggio; a joint venture with Polygram International, Point Music; build?ing a state of the art forty-eight track digital recording studio in New York City, Looking Glass Studios; and producing CDs for com?panies such as Sony Classical, Nonesuch Records, Elektra Entertainment, Virgin Records, Island Records, A&M Records, and others. In 1998 the musical score he pro?duced for Scorsese's Kundun, received an Academy Award and Golden Globe nomina?tions for Best Original Score, and won the L.A. Film Critics award for Best MusicScore. For Munkacsi's complete discography please visit www.allmusic.comamgmusic_root.html.
Michael Riesman (Music Director, Keyboards) is a conductor, composer, and keyboardist, and has been a member of the Philip Glass Ensemble since 1974. He has conducted many Glass works including Einstein on the Beach (both recordings), Glassworks, The Photographer, Songs From Liquid Days, Dance Pieces, Music in 12 Parts (both recordings), Passages, Koyaanisqatsi, Mishima, Powaqqatsi, The Thin Blue Line, Anima Mundi, A Brief History of Time, Candyman, and now, Kundun. He has con?ducted and performed on albums by Paul Simon (Hearts and Bones), Scott Johnson (Patty Hearst), Mike Oldfield (Platinum), Ray Manzarek (Carmina Burana), David Bowie (BlackTieWhite Noise), and Gavin Bryars (Jesus' Blood Never Failed Me Yet). Mr. Riesman released an album, Formal Abandon, on the Rizzoli label, which origi?nated from a commission by choreographer Lucinda Childs. He collaborated with Robert Wilson on Edison (New York, Paris, and Milan). His film scores include Enormous Changes at the Last Minute, Pleasantville, and Christian Blackwood's Signed: Lino Brocka. Mr. Riesman studied at Mannes College of Music and Harvard University, where he received a Ph.D., and has taught at Harvard and SUNY-Purchase. He was Composer-in-Residence at the Marlboro Music Festival and at the Tanglewood Festival, where he has conduct?ed performances of his own works.
Giuseppe Frigeni (Visual Design Consultant) completed his studies at the Universities of Bergamo and Bologna. He then studied contemporary dance in Paris with Francoise and Dominique Dupuy. He has worked with Carolyn Carlson, Steve Paxton, David Gordon, Ruth Barnes, Catherine Diverres and Marie-France Delieuvin, among others. He was a member of F. Dugied Danse, Libre Parcours, Theatre Parcours, Theatre ImpopulaireBruxelles and has collaborated
with the group Red Notes of Andy de Groat, as well as with Paco Decina. In 1988, he pre?sented at Orsay a performance in homage to Andrei Tarkovski. His collaborations with Robert Wilson include: The Martyrdom of Saint Sebastian, The Magic Flute, Alice in Bed, Madame Butterfly, Snow on the Mesa, Four Saints in Three Acts, G. Armani Story, Pelleas et Melisande, and most recently, Lohengrin, at the Metropolitan Opera in New York City, among others. He has creat?ed the choreography for La Traviata and Othello (Klaus Michael Gruber, din), Wozzeck and Don Giovanni (Patrice Chereau, dir.), Parsifal (Gruber, dir.), and Wozzeck (Peter Stein, dir.). Upcoming pro?jects include Macbeth for the Stichting Opera Zuid.
Dan Dryden (Live Sound Mix) has been a member of the Philip Glass Ensemble since 1983. He has worked on PGE Concerts, The Photographer, Descent into the Maelstrom, Einstein on the Beach (1984,1993), 1000 Airplanes on the Roof, Koyaanisqatsi (Live), La Belle et La Bete, Les Enfants Terribles, and Hydrogen Jukebox. In other live performance work he has worked with Laurie Anderson, Ravi Shankar, the Raybeats and others. In the studio, he has recorded The Photographer, Satyagraha and Mishima as well as the works of other artists. As curator, he oversees the collection of Emery Blagdon, the late visionary artist who creat?ed his Healing Machines in Nebraska from 1954-1986. Dan is also a licensed and prac?ticing pharmacist.
Jon Gibson (Flute, Bass Flute, Clarinet, Soprano Saxophone) is a composer, multi-wind instrumentalist, and visual artist. He has performed with the Philip Glass Ensemble since its beginnings. Recent activi?ties included a commission by choreograph?er Nina Winthrop which premiered at New York's Dancespace in February 1999; work-
shops and performances with the late teacher, dancer, choreographer, Nancy Topf; two world premieres at the Music at the Anthology series in New York; an interactive concert with David Behrman and "Blue" Gene Tyranny at The Kitchen (NYC), a work (Stalling Into Elation ) for choreogra?pher Nina Winthrop and Dancers; soloduo performances in Sicily with Philip Glass, which included collaborative music for the 1916 film Cenere; a performance at New York's Merkin Hall with composerpianist Harold Budd; collaborations with Philip Glass at the NYC Anthology Film Archives to the silent movies of Ralph Steiner, and several commissions from the baritone Thomas Buckner. Gibson's music can be heard on the New Tone, Point Music, Lovely Music, EarRational Records and Einstein Records labels and he appears on recordings by Philip Glass, Steve Reich, Frederic Rzewski, Arthur Russell, Annea Lockwood, Peter Zummo and Robert Ashley. He has composed and performed music for the dance companies of Nancy Topf, Merce Cunningham, Lucinda Childs, Margaret Jenkins, Simone Forti and Elizabetta Vittoni. Gibson is a graduate of San Francisco State University where he studied composition with Wayne Peterson and Henry Onderdonk.
Marie Mascari {soprano) has appeared in a variety of opera roles, including Nannetta in Verdi's Falstaff, Papagena in Die Zauberflote, and Servilia in La Clemenza di Tito with the WolfTrap Opera Company and Festival Opera Theatre (Indiana). In the summer of 1998, she will sing the role of Lillian Russell in The Mother of Us All at Glimmerglass Opera. Ms. Mascari specializes in contem?porary works, and has premiered the music of Freund, Capelle, Ovsepyan, and Sommer. She has performed in concert with the National Chorale at Avery Fisher Hall, Indianapolis Philharmonic, Melos Sinfonia
in Washington, DC, and the Latin American Music Festival. A Metropolitan Opera regional finalist, Ms. Mascari is a recipient of the Richard F. Gold Career Grant from the Shoshana Foundation.
Alexandra Montano (mezzo-soprano), sang the title role in the European premiere of Tan Dun's opera Marco Polo as well as the role of La Belle in Philip Glass' La Belle et La Bete. She made her Broadway debut in 1996 in Julie Taymor's Juan Darien, and has performed with the Waverly Consort, which tours South America, Asia, and America. Ms. Montano has performed Meredith Monk's Politics of Quiet at The Kitchen (NYC) and in Portugal at the Expo 98 where she also sang Oda al Mar, a piece by Eugenio Rodrigues. This season she is tour?ing with Philip Glass and Robert Wilson's Monsters of Grace, as well as singing La Belle and playing keyboards in Philip Glass' Koyaanisqatsi Live! in London and Belfast. She will be performing with Meredith Monk in a collection of her works, and is working on an opera by David Lang and the Kronos Quartet, to be performed at San Francisco's Repertory Theater in April 1999. She has recorded the works of Hildegard von Bingen, Guillaume Dufay, Faure, Stewart Wallace, Brian Eno, Philip Glass, David Lang, and Tan Dun. She appears with Voices of Ascension and Concert Royal, as well as her women's a cappella trio Cascabel.
Richard E. Peck, Jr. [Tenor, Soprano and Alto Saxophone), came to New York City from Louisiana in 1971, when he joined the Philip Glass Ensemble. He has performed in the premieres of Einstein on the Beach, Dance Pieces, Descent into the Maelstrom, 1000 Airplanes on the Roof, Hydrogen Jukebox, Koyaanisqatsi, Powaqqatsi, and La Belle et la Bete. As a composer, Mr. Peck's activities have included scoring the Eye and Ear Theater's production of Picasso's Desire
Caught By the Tail, music for the dancer Nancy Lewis and a score for Susan Osberg's Sideshow. In addition, Mr. Peck has per?formed and recorded with many artists, including David "Fathead" Newman, Carla Bley, Michael Oldfield, and Paul Butterfield. Mr. Peck, a painter-constructionist, recently had his work seen in Autoportraits Contemporains "Here's Looking At Me" at Musee elac Art Contemporain Lyon in Lyon, France.
Gregory Purnhagen (Baritone) is pleased to be continuing his association with Philip Glass which began with the 1992 world tour of Einstein on the Beach. In 1994 he created the roles of La Bete and Avenant for Mr. Glass' opera La Belle et la Bete, and per?formed them in the world and domestic tours. He has recorded the above works along with Mr. Glass' Hydrogen Jukebox for the ElektraNonesuch label. He was a soloist with the New York Choral Artists under James Levine at the nationally televised Carnegie Hall Centenary Gala and has appeared as a soloist at Alice Tully Hall, Merkin Concert Hall and Weill Recital Hall. Operastage performances include Anthony Braxton's Shala Fears for the Poor (Joreo), John Kelly's Find My Way Home (Mr. Stone), and a recent Off-Off Broadway run of Chez Garbo (Joe) at the DUO Theater. He premiered Michael Kowalski's Fraternity of Deceit at the Eden Arcade. Mr. Purnhagen has recorded for the Sony Classics, BMGCatalyst, Newport Classics and Telarc labels.
Eleanor Sandresky (Keyboards) is a com?poser, pianist, and synthesist. Her composi?tions include solo-instrumental virtuoso works and evening-length collaborations. Eleanor performed an evening of works for solo piano and multi-media at the Southeastern Center for Contemporary Art. Her involvement with dance has resulted in
collaborative, and improvisational works presented at the Knitting Factory, The Kitchen, P.S. 122, Dia Arts Center, and the Mulberry St. Theater in New York. Since 1990, Eleanor has performed in the US and abroad with the Philip Glass Ensemble. She has played in performances of the group's repertoire, Koyaanisqatsi Live! and Powaqqatsi Live!, and his operas La Belle et la Bete and Les Enfants Terribles. Active in contemporary music in New York since 1984, she has performed new chamber works by such composers as Steve Reich, Egberto Gismonte, Guy Klucevsek, and William Russell. She has recorded for Nonesuch and Mode Records, with the Philip Glass Ensemble, Essential Music, and the Vanguard Chamber Orchestra. Currently, Eleanor is co-producer of the new music series, Music at the Anthology.
Andrew Sterman (Flute, Bass Flute, Piccolo, Soprano Saxophone), has been a member of the Philip Glass Ensemble since 1991. In 1995, Mr. Sterman gave the world premiere of a thirty-minute piece by Philip Glass for unaccompanied saxophone. He has also performed or recorded with the Houston Grand Opera, American Ballet Theater, International Society for Contemporary Music (featured soloist), American Composers Orchestra, and the New York Festival of Song, as well as with Freddie Hubbard, Dizzy Gillespie, Buddy Rich, Louis Bellson, Toshiko Akiyoshi, Frank Sinatra, Tony Bennett, Sarah Vaughan, Joe Williams, Aretha Franklin, The Village Vanguard Jazz Orchestra, Rashied Ali, Fred Hersch, Pharaoh Sanders, Wallace Roney, Teo Macero, Dr. John and others. Mr. Sterman composes music for his own chamber ensemble as well as the multi-media ensem?ble, Fish Love That. He has lectured on per?formance, jazz, and new-music composition for woodwinds at the University of Miami, Oberlin Conservatory, and the City
University of New York Graduate School of Music. Mr. Sterman has recorded for Sony Classical, CRI, Columbia, Vox, ElektraNonesuch, Koch and Warner Brothers.
Peter Stewart (Baritone) has toured with the Philip Glass Ensemble in Einstein on the Beach and La Belle et La Bete, and first worked with Robert Wilson in Gavin Bryars' Medea. He has performed new works by Hans Werner Henze (We Come to the River), Anthony Braxton (Trillium R), Julius Hemphill (A Bitter Glory), and a revival of Harry Partch's Oedipus with Newband. Peter has recorded the songs of Lee Hoiby (Continual Conversation with a Silent Man) and Cinque Cuhti of Marc Corsoli for CRI. He performs early music with the Waverly Consort and Pomerium.
Linda Greenberg (Producer) is the President of Pomegranate Arts, Inc., a new company, established in October 1998 which is dedi?cated to the development of performing arts projects internationally. In 1999, she will produce the Koyaanisqatsi Live! tour in sup?port of the new Nonesuch recording, and launch the American premiere tour of the acclaimed British theatre production, Shockheaded Peter. Prior to forming her own company, she was the producing director of International Production Associates, Inc. (IPA), where she was responsible for overseeing its touring productions. Ms. Greenberg has also produced the Elizabeth Streb POP ACTION tours and Diamanda Galas' Malediction and Prayer concert at Carnegie Hall and has played a pivotal role in the development of THARP! with chore?ography by Twyla Tharp and the new Philip GlassRobert Wilson production Monsters of Grace. Ms. Greenberg is a member of the Board of Directors for the International Society for the Performing Arts Foundation (ISPA) and serves on the advisory boards of
Celebrate Brooklyn, Music at the Anthology and the Portland Institute for Contemporary Art.
Jedediah Wheeler (Executive Producer) is president of International Production Associates, Inc. (IPA), the theatrical man?agement and production company he formed in 1982 to sustain the work of artists whose creative vision is singular and chal?lenged categorization, including Philip Glass and Ushio Amagatsu (Sankai Juku). He is also the founder of Top Shows, Inc., a not-for-profit company dedicated to exploring new entrepreneurial models for producing risk-taking performance work. In 1987, Lincoln Center for the Performing Arts, Inc. invited Wheeler to create and to produce a new performance festival. Called Serious Fun!, it became an annual event for which he won a Village Voice OBIE. He is credited with producing Le Cirque Imaginaire (1986), the Knee Plays by Robert Wilson and David Byrne (1986), 1000 Airplanes on the Roof by Philip Glass, David Henry Hwang and Jerome Sirlin (1988), Hydrogen Jukebox by Philip Glass and Allen Ginsberg (1990), Einstein on the Beach (1992), The Mysteries and What's so Funny by David Gordon and Red Grooms (1992), La Belle et la Bete by Philip Glass, based on the film by Jean Cocteau (1994) as well as Les Enfants Terribles by Philip Glass and Susan Marshall (1996). Recent productions include THARP! by Twyla Tharp, Pearls for Pigs by Richard Foreman and The Wasteland performed by Fiona Shaw and directed by Deborah Warner for which he won a New York Drama Desk Award, 2.5 Minute Ride by Lisa Kron directed by Mark Brokaw which appeared at the Public Theater in March 1999. A graduate of Tulane University, he is a board member of Arts Presenters, the national service organization devoted to the performing arts.
Music Credits
Music Publishing Audio Production Synthesizer Programming Persian Instruments provided by
Dunvagen Music Publishers, Inc. Euphorbia Productions, NY
Martin Czembor Bahman Kiai
Design Credits
Visual Concept Visual Design Consultant Lighting Consultant and Design Visual Research Assistants to Robert Wilson
Robert Wilson Giuseppe Frigeni
Andreas Fuchs, A.J. Weissbard Jacques Reynaud
Jorn Weisbrodt, Rupert Wage
Film and Computer Animation Credits
Line Producer
Technical Supervisor
Art Department
Assistant Animators Art Department
Render Manager Render Assistant Digital Production Manager Digital Assistants
Systems Administrator Assistant Systems Administrator Production Coordinators Production Assistants
Office Manager Production Accountant
Diana Walczak and Jeff Kleiser Erika Walczak Mary Nelson Ray Haleblian
Kent Mikalsen
Jerry S. Brown, Keith Cormier,
Wayn Goodman, Amanda
Hoeltke, Beau Janzen, Doug
Kingsbury, Ryan Laney, Jeff Lew,
Rae Long, Daniel Roizman,
Paul Stocker, Fabio Tovar,
Pearuth Tuy, Mark Pompian
Andre Basso, Gerhard Borchers,
Lee Mylks, Chris Swing
Aaron DeMatteo
Leonardo P. Quiles
Lance Barker
Alicia Bissinger, G. G. Heitman
Tom Hendrickson Billy Barnhart, Robin Cookis, Slavica Pandzic, Martha Small Joe Hall
Scott Lord
Arch Gibson, Santo C. Ragno Scott Kirchner, Anne Rech, Molly Windover Andrea Cancilla Kim Alice
Cyber Models Boy -Cooper Gerrard
Man -Michael Leslie Woman -Erika Walczak
Projection equipment provided by Boston Light &
Sound, Boston, MA. Visual Computing systems provided by Silicon
Graphics Inc.
Animation Software provided by Alias Wavefront 70mm optical printing provided by Pure Light Images,
Inc. Burbank, CA. Laser film recording provided by Digital Film Works,
Hollywood, CA, EFILM, Hollywood, CA, and
Pacific Ocean Post, Santa Monica, CA. Additional computing resources provided by
Intergraph, Inc.
Lyrics used by permission, published in: The Essential Rumi, tr. Coleman Barks and John Moyne, HarperCollins, 1995; Open Secret, Versions of Rumi, tr. Coleman Barks and John Moyne, Threshold Books, 1984; Like This, tr. Coleman Barks and A. J. Arberry, Maypop Books, 1990.
Souvenir 3D glasses designed by Gai Gherardi and Barbara McReynolds of l.a.Eyeworks.
3D glasses are solely for use in viewing the production and are not intended as sunglass protection.
MOG Project
Production Manager Associate Producer Project Coordinator Administrative Associate Projectionist Live Monitor Mix Company Manager Legal Counsel
David Bradford Alyce Dissette Jill Dombrowski
Karen Sackman Robert L. Battley Stephen Erb Donna Richard Timothy J. DeBaets; Cowan, DeBaets, Abrahams & Sheppard LLP Bernard L. Dikman, CPA
Top Shows, Inc.
Director Alyce Dissette
Board of Directors
Jacqueline Z. Davis, Timothy J. DeBaets, John Howell, James Heller and Pamela Markham Heller, Robert Orchard, Jedediah Wheeler
AT&T Foundation, John. J. Danilovich, Timothy J DeBaets, Mr. and Mrs. James Heller, Mr. and Mrs. Sydney Lewis, National Endowment for the Arts, Opera America, Philip Morris Companies Inc., Paul Simon, Lila Wallace-Reader's Digest Fund, Micki Wesson
Monsters of Grace has been co-commissioned by the UCLA Center for the Performing Arts, Los Angeles, CA (US); Arizona State University Public Events, Tempe, AZ (US); The Barbican Centre, London (UK); The Brooklyn Academy of Music, Brooklyn, New York (US); Change Performing Arts, Milan (Italy); Festival Castell de Peralada, Catalunya (Spain); Het Muziektheater, Amsterdam (Netherlands); PICA (Portland Institute of Contemporary Art), Portland, OR (US); The Society for the Performing Arts, Houston, TX (US); and Wolf Trap Foundation, Vienna, Virginia (US).
Premiere engagement on April 15, 1998 at Royce Hall, University of California, Los Angeles
O1998 Dunvagen Music Publishers, Inc. is supported in part by the Lila Wallace-Reader's Digest Funds.
Worldwide Management for Monsters of Grace-. International Production Associates, Inc. (IPA) 584 Broadway, Suite 1008 New York, NY 10012 E-mail: http:
Eighty-second Performance of the 120th Season
Jazz at Lincoln Center
celebrates The Ellington Centennial
America in Rhythm & Tune:
featuring the
Lincoln Center Jazz Orchestra
Wynton Marsalis
Wynton Marsalis, Music Director, Trumpet
Seneca Black, Trumpet
Ryan Kisor, Trumpet
Marcus Printup, Trumpet
Wayne Goodman, Trombone
Wycliffe Gordon, Trombone
Ron Westray, Trombone
Wess "Warmdaddy" Anderson, Alto, Sopranino Saxophones, Clarinet
Ted Nash, Alto, Soprano Saxophones, Clarinet
Walter Blanding, Jr., Tenor Saxophone, Clarinet
Victor Goines, Tenor and Soprano Saxophones, Clarinet
Joe Temperley, Baritone Saxophone
Farid Barron, Piano
Rodney Whitaker, Bass
Herlin Riley, Drums
Friday Evening, April 23,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
A Centennial Celebration of Duke Ellington
Tonight's program will be announced from the stage.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Michael Korybalski of Mechanical Dynamics for his generous support of the University Musical Society.
Special thanks also to Jeanne Merlanti of Personnel SystemsArbor Technical Arbor Temps for her generous support of the University Musical Society.
This performance is presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
America in Rhythm and Tune is a Heartland Arts Fund Program supported by the National Endowment for the Arts and Michigan Council for the Arts and Cultural Affairs.
Additional support is provided by media partner, WDET.
The America in Rhythm and Tune tour is supported by DiscoverO Card. Additional support is provided by the National Endowment for the Arts. Jazz at Lincoln Center's celebration of The Ellington Centennial is made possible by the Doris Duke Charitable Foundation.
Special thanks to Kenn Cox and members of the Lincoln Center lazz Orchestra for this evening's pre-performance educational presentation.
The Steinway paino used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
ith the Lincoln Center Jazz Orchestra Spring 1999 Tour, "America in Rhythm and Tune," Jazz at Lincoln Center takes its monumental celebra?tion of The Ellington Centennial across the nation. The Ellington Centennial is the year?long acknowledgement of Duke Ellington's unequivocal contributions to jazz music in the 100tn anniversary of his birth. Jazz at Lincoln Center, the premier arts organiza?tion dedicated to maintaining jazz at the forefront of American cultural conscious?ness, aims to increase public awareness, knowledge, and appreciation of Duke Ellington the musician, the composer, the arranger, the man and of his contributions to American music and society.
Born in 1899, Ellington grew up with jazz and understood what made it so differ?ent from all other music. It was his grasp of the essences of the idiom that allowed him to maintain superb aesthetic focus through?out his life, no matter how much he devel?oped as a musician and developed the very art itself through his own inventions. Ellington was the truest and most complete innovator; he remade the fundamentals so thoroughly that they took on new life while maintaining the vitality that gave the music its specific distinction. The Blues
It was the complex of sorrow and cele?bration, erotic ambition and romantic defeat, fueling the deepest meaning of the blues, that gave Ellington his sense of ten?sion and release in human terms. The emo?tional and psychological riddles of the blues underlay much of Ellington's work, whether or not he was literally using the blues form. And Ellington also knew that the emotional turns of blues mood existed for the expres?sion of intricate personality, or suggested the kind of expression he expanded upon and refined through the selection and coaching of his players -Ben Webster,
Johnny Hodges, Ray Nance, and so many others.
Trains have a mythic place in American lore because they cross so many areas of the national epic, literally and metaphorically. Trains deliver and they take away. We think so often of them in terms of joy, thrills, romance, longing, danger, and rueful melancholy that they often appear in the western, the gangster film, the comedy, the mystery, and the blues song. And because Ellington and his band traveled the country by train for so many years, engines, cou?plers, cars, and rails not with steel but with brass, reeds, and rhythm section percussion appear in every decade of the composer's work.
It is quite easy to understand why there is such a rich body of composition in Ellington's canon dedicated to women, for there is no greater show business legend in the world of romance than Duke Ellington, whose appreciation of and experience with the opposite sex inspired tales of almost mythic proportions. He liked them and they liked him. But unlike the great majority of those lucky enough to know the affections of many women, Ellington had a passion for transferring to sound the things that he learned. His gift for melody, harmony, tonal mixtures, and rhythm allowed Ellington to conjure up real and dream women who have timeless positions in the aural archives of our arts.
The distinguished authors and histori?ans Albert Murray and Ralph Ellison have recognized for years that Duke Ellington provides us with what might just be the largest and most flexible metaphor for American aesthetic achievement of any sin?gle creator. He is the embodiment of the richest possibilities of American music, from the spirituals of slavery through the
blues, Tin Pan Alley, New Orleans, the con?cert hall, and every truly significant innova?tion of the Afro-American imagination that has so thoroughly and indelibly contributed to the national identity.
No composer better captured the feel?ing of American life than Ellington, and no band on the face of the earth plays Ellington's music better than the Lincoln Center Jazz Orchestra. We sincerely do hope that you enjoy this Ellingtonian evening of fire, affirmation, elegance, and lyricism.
Program notes copyright O by Stanley Crouch.
Edward Kennedy "Duke" Ellington was one of the most prolific com?poser of the twentieth century with respect to both number of compo?sitions and variety of forms. His development was one of the most spectacular in the history of music, underscored by more than fifty years of sustained achievement as an artist and an entertainer. He is considered by many to be America's greatest jazz composer, bandleader, and recording artist.
The extent of Ellington's innovations helped to redefine the various forms in which he worked. He synthesized many of the elements of American music the min?strel song, ragtime, Tin Pan Alley tunes, the blues, and American appropriations of the European music tradition into a consis?tent style which, though technically com?plex, had a unique directness and simplicity of expression. Ellington's first great achieve?ments came in the three-minute song form, and he later wrote music for all kinds of set?tings: the ballroom, the comedy stage, the nightclub, the movie house, the theater, the concert hall, and the cathedral. His blues writing resulted in new conceptions of form, harmony, and melody, and he became the master of the romantic ballad and creat-
Duke Ellington
ed numerous works that featured the great soloists in his jazz orchestra.
Duke Ellington was born in Washington, DC, on April 29,1899. Ellington studied piano from age seven and was influenced by stride piano masters including James P. Johnson, Willie "the Lion" Smith, and Fats Waller. By 1923, he had moved to New York City and had his own band, the Washingtonians. He later formed the Duke Ellington Orchestra, which by 1930 had grown to include twelve musicians and achieved national promi?nence through radio broadcasts, recordings, and film appearances. By the early 1940s, Ellington experimented with longer forms and his orchestra toured the US and Europe extensively. In 1943 Ellington inaugurated a series of annual concerts at Carnegie Hall with the premiere of Black, Brown and Beige. He continued to expand the scope of his compositions and his activities as a
bandleader throughout his life. His interna?tional tours became increasingly frequent and successful; his travel experiences served as the inspiration for his many works about people, places, and trains. He wrote nearly 2,000 compositions before his death in 1974.
For more than ten years, the Lincoln Center Jazz Orchestra (LCJO) has been the official house band for Jazz at Lincoln Center (J@LC). Under the leadership of Wynton Marsalis, the LCJO features a wide range of music from the history of jazz, including new works from commissioned artists, in its concerts at home in New York City, across America, and around the world. In 1998, the LCJO performed over 125 concerts in 100 cities on five continents. The LCJO compris-
es many of the finest and most versatile jazz instrumentalists today, from such diverse places as New York, New Orleans, Cleveland and Scotland. Specialists in the music of Duke Ellington, the LCJO will be perform?ing his music in all of its concerts through?out 1999 as part of J@LC's celebration enti?tled The Ellington Centennial, the 100th anniversary of Duke Ellington's birth. Through ongoing tours, the LCJO shares its music with enthusiastic audiences worldwide. Performance highlights include venues such as the Hollywood Bowl, Vienna Opera House, Tanglewood, London's Royal Festival Hall, Rossiya Hall in Moscow, Teatro Gran Rex in Buenos Aires, the symphony halls of Boston, Chicago and Munich, Ann Arbor's Hill Auditorium, the Concertgebouw in Amsterdam, the Sydney Opera House, the Hong Kong Cultural Center, and Tokyo's Bunkamura Center.
Lincoln Center Jazz Orchestra
The LCJO expresses its commitment to education through participation in the cele?brated Jazz for Young People concert series and in the Essentially Ellington high school band competition and festival, as well as through residencies, workshops, master classes, and concerts for students and adults worldwide -all produced by J@LC. In July 1998, all of the LCJO members conducted sixty educational programs and concerts in an unprecedented, weeklong educational residency in Yokohama, Japan.
The LCJO routinely premieres and per?forms works commissioned by J@LC from a variety of composers, including Benny Carter, Joe Henderson, Jimmy Heath, Chico O'Farrill, Freddie Hubbard, Christian McBride, and Stephen Scott, as well as LCJO members Wynton Marsalis, Wycliffe Gordon, Ted Nash and Ron Westray. The music performed by the LCJO includes his?toric compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, Benny Goodman, Charles Mingus, John Lewis, Bennie Moten, Sy Oliver, Eddie Durham, Oliver Nelson, Jay McShann, Woody Herman, and others. Guest conduc?tors for the LCJO have included Benny Carter, John Lewis, Jimmy Heath, Chico O'Farrill, Ray Santos, Jon Faddis, Robert Sadin, David Berger, and Loren Schoenberg.
The LCJO has appeared on television broadcasts in France, Spain, Finland, Germany, the Czech Republic, Russia, Poland, Australia, Japan, Brazil, Portugal, South Korea, and the Philippines. It has performed on The Tonight Show and on four Live From Lincoln Center broadcasts, and recently appeared with the New York Philharmonic on an April 7, 1999 broadcast. The LCJO will also be featured in the upcoming ThirteenWNET Great Performances special on Duke Ellington's music, "Swingin' with Duke," airing
nationally on PBS on May 12,1999.
Their music can be heard on the Columbia Jazz compact discs Portraits by Ellington (1992), The Fire of the Fundamentals (1993), They Came to Swing (1994) Jump Start and Jazz (1997), and Wynton Marsalis's Pulitzer Prize-winning oratorio Blood on the Fields (1997), commissioned by J@LC. In April 1999, Columbia Jazz will release the new LCJO recording, Live in Swing City, consisting of live performances of Ellington's music.
Jazz at Lincoln Center has appeared under UMS auspices annually for the last five seasons presenting concerts dedicated to Louis Armstrong, Thelonius Monk, and Jelly Roll Morton as well as Mr. Marsalis' Blood on the Fields. They last appeared in April 1998 in collaboration with the Chamber Music Society of Lincoln Center, presenting the world premiere of Mr. Marsalis' A Fiddler's Tale alongside Igor Stravinsky's Histoire du Soldat.
Wess "Warmdaddy" Anderson (Alto and Sopranino Saxophones, Clarinet) began playing the saxophone at age fourteen and attended Jazzmobile workshops in Harlem, studying with Frank Wess, Frank Foster, and Charles Davis. Jazzmobile classes were supplement?ed with jam sessions led by saxophonist Sonny Stitt at the Blue Coronet, where he learned the discipline essential to performance. Before entering Southern University, where he studied with clarinetist Alvin Batiste, Mr. Anderson met Wynton and Branford Marsalis, who were instrumental in his professional success. In 1988, he became a member of Wynton Marsalis' Septet, with which he toured and recorded for seven years. He has been a member of the Lincoln Center Jazz Orchestra since it began touring in 1992. As a leader, Mr. Anderson has recorded and released three solo albums entitled Warmdaddy in the Garden of Swing
University Musical Society
Laurie Anderson Moby Dick
Detroit Symphony Orchestra
Neeme larvi. conductor Sergei Leiferkus. bass-baritone Estonian National Male Chorus UMS Choral Union
Amalia Hernandez'
Ballet Folklorico de Mexico
Paco Pefia and Inti-lllimani
Lyon Opera Ballet Mats EWs Carmen
Berlin Philharmonic Orchestra
Claudio Abbado, conductor
Conceived by Sarah Rothenberg Choreography and Stage Direction
by lohn Kelly Lucy Shelton. soprano
The King's Singers Evelyn Glennie, percussion
Sankai Juku Hiyomeki
Bill FriselPs New Quartet
Buena Vista Social Club with
Orquesta Ibrahim Ferrer & Ruben Gonzalez y su Grupo
Emerson String Quartet
American String Quartet
Beethoven the Contemporary
Les Arts Florissants Henry Purcell's King Arthur
William Christie, conductor
Theatre of Voices
Paul Hillier. director
Paco de Lucia and His Flamenco Sextet
Gidon Kremer. violin
The Harlem Nutcracker
Donald ByrdThe Croup
Handel's Messiah Boys Choir of Harlem Frederica von Stade.mezzo-soprano
A Lutheran Christmas Celebration (c. 1620) Gabrieli Consort & Players
UMS Choral Union Paul McCreesh. director
The Romeros Bebe Miller Company Take 6 Yo-Yo Ma. cello
Russian National Orchestra
Mikhail Pletnev. conductor Francesko Schlime, piano UMS Choral Union
Barbara Hendricks. soprano
19992000 Season 734-764-2538
Jazz at Lincoln Center Sextet
Gothenburg Symphony Orchestra
Neeme larvi, conductor Yuri Bashmet, viola
Meredith Monk Magic Frequencies
A Science Fiction Chamber Opera
Doudou N'Diaye Rose Drummers of West Africa
Martha Clarke Vers la flamme
Christopher O'Riley. piano
Anne-Sophie Mutter, violin
Estonian Philharmonic Chamber Choir
Tonu Kaljuste. director Murray Perahia, piano
New York City Opera National Company
Rossini's The Barber of Seville
Christian Tetzlaff violin The Chieftains
Ballet d'Afrique Noir The Mandinka Epic
English Concert
Trevor Pinnock, conductorharpsichord
Ustad Ali Akbar Khan, sarod Ustad Zakir Hussain tabia
Oscar Peterson Quartet
Thomas Quasthoff, baritone Forgiveness
Chen Shi-Zheng, director
A Mediterranean Women's Music Summit
Beaux Arts Trio Moscow Virtuosi
Vladimir Spivakov. conductor
Czech Philharmonic Orchestra
Vladimir Ashkenazy. conductor
The Watts Prophets
with special guest Toni Blackman
Trisha Brown Company
Susanne Mentzer. mezzo-soprano Sharon Isbin. guitar
Australian Chamber Orchestra
Richard Tognetti. conductor Anne-Marie McDermott, piano
Bach's St. Matthew Passion
UMS Choral Union Ann Arbor Symphony Orchestra Ann Arbor Youth Chorale Thomas Sheets, conductor
Lincoln Center Jazz Orchestra Swing Dance Tour
Wynton Marsalis. trumpet and director
(1994), The Ways of Warmdaddy (1996), and Live at the Village Vanguard (1998).
Farid Barron {Piano) was born and raised in Philadelphia, Pennsylvania. While attend?ing Central High School, the school's jazz ensemble won the Down Beat MusicFest Jazz Ensemble first prize, and he earned the Outstanding Soloist award. Mr. Barron studied at Drexel University and Temple University, and has performed with Wynton Marsalis, Ralph Peterson, Johnny Coles, Mickey Roker, and Bobby Durham, among others. He has toured extensively through?out the United States, Europe and South America, including the international LCJO tour of Mr. Marsalis' Blood on the Fields. From 1993 to 1997, Mr. Barron served in the US Air Force, based in San Antonio, Texas, where he performed in the Concert Band and the Dimensions in Blue Jazz Ensemble. He has most recently participated in J@LC's Iowa Residency Tour, an educa?tional residency in four Iowa cities in September 1998 and January 1999.
Seneca Black {Trumpet) was born on April 15,1978 and was inspired to pursue jazz after being introduced, at age fourteen, to the music of Duke Ellington by Wynton Marsalis. After studying trumpet at the New World School of the Arts in Miami, Florida, Mr. Black moved to New York City to study with master trumpeter Lew Soloff at the Manhattan School of Music. Mr. Black has performed with Chico O'Farrill's Afro-Cuban Jazz Orchestra, the Mingus Big Band, and The Manhattan Jazz Orchestra, and has been a member of the LCJO since 1997.
Walter Blanding, Jr. {Tenor Saxophone, Clarinet) was born August 14,1971 in Cleveland, Ohio. Raised in a family of musi?cians, he began playing the saxophone at age six, and moved with his family to New York in 1981. In 1987, he was performing around
New York City with his father, a bassist, and mother, a pianist and vocalist, when they became the house-band at the Village Gate. Mr. Blanding attended LaGuardia High School for the Performing Arts in New York City and played in the school's jazz band, the McDonald's Tri-state Ensemble, the All-City Jazz Band, and the Youth Orchestra conducted by Wynton Marsalis. Mr. Blanding, Jr. has toured around the world with artists including Cab Calloway, Wynton Marsalis, Marcus Roberts and Roy Hargrove, among others. His first album, Tough Young Tenors, received acclaim as one of the best jazz albums of 1991. He current?ly resides, performs, and teaches in Israel, where his enormous impact on the jazz scene has earned him the title of "Jazz Ambassador to Israel," according to Newsweek magazine.
Victor Goines (Tenor and Soprano Saxophones, Clarinet) was born and raised in New Orleans. Mr. Goines began studying clarinet at age eight, and continued his studies through high school. He received a Bachelor of Music Education in 1984 from Loyola University and his Master Degree at Virginia University in 1990. Mr. Goines toured internationally with Ellis Marsalis' quartet before joining the orchestra of the Broadway musical Black and Blue. In 1993, he joined Wynton Marsalis' Septet and toured with the band through 1994, at which time he joined the LCJO. Mr. Goines has recorded or worked with Lionel Hampton, Terence Blanchard, James Moody, Ruth Brown, Dianne Reeves, and Dizzy Gillespie, among many others. He has released two albums as a leader, Genesis in 1991 and Joe's Blues in 1998.
Wayne Goodman (Trombone) was born and raised in Brooklyn, New York. He began studying the trombone at age eleven, and went on to receive a Bachelor of Music
degree from William Paterson College. While attaining a Master Degree in Music from The Manhattan School of Music, he met Wynton Marsalis, who invited him to perform in the world premiere of Blood on the Fields at J@LC. A skilled composer and arranger, Mr. Goodman has received a full scholarship to the BMI Composer's Workshop. A member of the LCJO since 1994, Mr. Goodman also leads the New Orleans Jazz Band, which focuses on the original music of Jelly Roll Morton and King Oliver. He has added his sound to the music of such jazz greats as Jon Hendricks, Wayne Shorter, Lionel Hampton, Henry Threadgill, Cassandra Wilson, and John Lewis. Mr. Goodman currently resides in New York City where he enjoys an active freelance career within the jazz and Latin-jazz communities.
Wycliffe Gordon (Trombone) was born in 1967 in Waynesboro, Georgia and began playing the trombone at age twelve. During high school in Augusta, Georgia, he was honored with a place on the All-State Concert and Jazz Band, as well as on the McDonald's All-American High School Marching Band and Jazz Band. While a sophomore in college, he attended a master class led by Wynton Marsalis, who was very impressed with Mr. Gordon's talents. Mr. Gordon officially joined Mr. Marsalis' Septet, and became a member of the LCJO when it began touring in 1992. He has per?formed with renowned musicians like Dizzy Gillespie, Al Grey, Slide Hampton, Joe Henderson, Lionel Hampton and Shirley Horn, and, in 1996, recorded a widely acclaimed album entitled Bone Structure with fellow trombonist and LCJO member Ron Westray. Mr. Gordon currently resides in Augusta, Georgia, where he composes, performs, and teaches at the Wycliffe Gordon School of Music, which he founded.
Ryan Kisor {Trumpet) was born on April 12, 1973, in Sioux City, Iowa and began playing trumpet at age four. In 1990, he won first prize at the Thelonious Monk Institute's first annual Louis Armstrong Trumpet Competition. Mr. Kisor enrolled at The Manhattan School of Music in 1991, where he studied with trumpeter Lew Soloff. Since coming to New York City, he has played with the Mingus Big Band, the Gil Evans Orchestra, Benny Green, and many others. He has toured andor recorded with Horace Silver, Gerry Mulligan, Benny Golson, Steve Swallow, Jim Hall, Dick Katz, Melvin Rhyne, Charlie Haden's Liberation Music Orchestra, the Carnegie Hall Jazz Band, and the Philip Morris Jazz All-Stars. As well as being an active sideman, Mr. Kisor has recorded several albums as a leader, includ?ing Battle Cry (1997) and The Usual Suspects (1998). He has been a member of the LCJO since 1994, and has participated in numer?ous J@LC educational programs.
Wynton Marsalis (Music Director, Trumpet) is the most accomplished and acclaimed jazz artist and composer of his generation as well as a distinguished classical musician. Mr. Marsalis has been instrumental in bringing jazz to the forefront of American culture by force of his intellect, creativity, and charisma. He has achieved this through excelling as a bandleader, teacher and men?tor, sharing his soul on a series of brilliant recordings, and realizing his vision as Artistic Director of J@LC. Born in New Orleans in 1961, Mr. Marsalis began his classical training on trumpet at age twelve and gained invaluable experience playing in local bands of diverse genres. He entered The Juilliard School at age seventeen and soon joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and over the past seventeen years has produced a catalogue of more than thirty outstanding jazz and clas-
sical recordings, which have won him eight Grammy Awards. In 1983 he became the first and only artist to win both classical and jazz Grammys in one year and, remarkably, repeated this feat in 1984. Mr. Marsalis' latest recordings with the LCJO include Jump Start and Jazz and Blood on the Fields. His newest album on Columbia Records, Standard Time Volume 5 The Midnight Blues, has achieved both critical and popular success. Mr. Marsalis' rich body of composi?tions includes Sweet Release, Jazz: Six Syncopated Movements, Jump Start, Citi Movement IGriot New York, At the Octoroon Balls, and In This House, On This Morning. In 1997, Mr. Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music, for his oratorio on slavery, Blood on the Fields. His latest work for the LCJO, Big Train, which extends the tradition of jazz compositions exploring the symbols and sounds of locomotives, was premiered at Alice Tully Hall on March 19,1998. Mr. Marsalis is an internationally respected teacher and spokesman for music education, and has received numerous honorary doc?torates from universities and colleges throughout the US. He regularly conducts master classes for students of all ages, including the popular Jazz for Young People concerts produced by J@LC. He has also been featured in the video series Marsalis on Music and the radio series Making the Music. In 1994, Mr. Marsalis wrote the book Sweet Swing Blues on the Road in collabora?tion with photographer Frank Stewart. Mr. Marsalis was named one of "America's 25 Most Influential People" by Time magazine and one of "The 50 Most Influential Boomers" by Life magazine in recognition of his critical role in stimulating an increased awareness of jazz in the consciousness of an entire generation of jazz fans and artists.
Ted Nash (Alto and Soprano Saxophones, Clarinet,) was born in Los Angeles and received exposure to music at an early age from his father Dick Nash and uncle Ted Nash, both well-known studio and jazz musicians. At age thirteen, he began playing saxophone; by sixteen, he had already per?formed with Lionel Hampton and Quincy Jones; and at eighteen, he made his first recording as a leader. Mr. Nash is a Composer-in-Residence of the Jazz Composers Collective a non-profit, musi?cian-run organization dedicated to per?forming the original works of current inno?vative composers and has appeared on three of their critically acclaimed albums, The Herbie Nichols Project's Love is Proximity, Ben Allison's Medicine Wheel, and Seven Arrows. He has written and recorded for the Mel Lewis Jazz Orchestra, the American Jazz Orchestra, and the Stockholm Jazz Orchestra, and has toured extensively throughout Europe. Mr. Nash has taught jazz improvisation at New York University and performs regularly as the leader of the Ted Nash Quartet, whose latest release is entitled European Quartet.
Marcus Printup (Trumpet) was born on January 24,1967, and raised in Conyers, Georgia, where his first musical influences were the spirituals and gospel music he heard in church. He discovered jazz as a senior in high school, and while attending the University of North Florida, he won the International Trumpet Guild Competition. In 1991, Mr. Printup met and began touring extensively with pianist Marcus Roberts, who introduced him to Wynton Marsalis. Mr. Printup has performed andor recorded with Dr. Billy Taylor and Betty Carter, Carl Allen, Dianne Reeves, and Mr. Roberts, among others. Currently, Mr. Printup tours and performs regularly with the LCJO and his own band. He has recorded four solo albums, Songs for the Beautiful Woman,
UMS Jazz Series
Five Performances
Bill Frisell's New Quartet
Bill Frisell, guitar Greg Leisz, pedal steel guitar David Piltch, bass Kenny Wolleson, drums Thursday, October 28, 8 P.M. Power Center
Buena Vista Social Club with
Orquesta Ibrahim Ferrer & Ruben Gonzalez y su Grupo
Saturday, October 30, 8 P.M. Hill Auditorium
Jazz at Lincoln Center Sextet
Friday, February 4, 8 P.M.
Michigan Theater
Oscar Peterson Quartet
Oscar Peterson, piano Olf Wakenius. guitar Niels-Henning Orsted Pedersen. bass Martin Drew, drums
Saturday, March 18, 8 P.M. Hill Auditorium
Lincoln Center Jazz Orchestra Swing Dance Tour
Wynton Marsalis, trumpet and director Saturday, April 22, 8 P.M. Eastern Michigan University Convocation Center
800-221-1229 WWW.UMS.ORG
Unveiled, Hub Songs with trumpeter Tim Hagans, and his latest, Nocturnal Traces, released fall 1998. Mr. Printup recently recorded on the soundtrack of, and made his debut screen appearance in, the movie Playing by Heart.
Herlin Riley (Drums) was born into a musical family in New Orleans and began playing the drums at age three. Although he studied trumpet throughout high school and college, and performed briefly as a trumpeter, he remained indelibly drawn to the drums. Mr. Riley was a member of Ahmad Jamal's band from 1984 through 1987, and has recorded with Dianne Reeves, Marcus Roberts, Dr. John, Harry Connick, Jr., George Benson, Steve Turre and The Clayton Brothers, among others. His theater experience includes playing in One Mo' Time and Satchmo: Americas Musical Legend. In the spring of 1988, he joined Wynton Marsalis' Septet, with which he toured and recorded for six years. Mr. Riley has earned great respect in the drumming community, appearing on the cover of the April 1995 issue of Modern Drummer. He is also featured in an instructional video, New Orleans Drumming Ragtime and Beyond -Evolution of a Style. Mr. Riley has performed regularly with the LCJO since it began touring in 1992, and performs in numerous J@LC educational programs.
Joe Temperley (Baritone Saxophone) was born in Scotland. Mr. Temperley first achieved national prominence in the United Kingdom as a member of Humphrey Lyttelton's band from 1958 to 1965, in which he played tenor and baritone saxo?phone. He made several recordings with the group and toured the US in 1959. In 1965, he came to New York City, where he worked with Woody Herman, Buddy Rich, Joe Henderson, Duke Pearson, the Jazz Composer's Orchestra, and recorded with
Thad Jones-Mel Lewis Orchestra in 1969 and Clark Terry in 1970, among many oth?ers. In October 1974, he toured and record?ed with The Duke Ellington Orchestra as a replacement for Harry Carney, and regularly toured as a soloist in England at the time. Mr. Temperley played in the Broadway show Sophisticated Ladies in the 1980s, and his film soundtrack credits include the Cotton Club, Biloxi Blues, Brighton Beach Memoirs, When Harry Met Sally, and Tune In Tomorrow, composed by Wynton Marsalis. Mr. Temperley is a mentor and a co-founder of the FIFE Youth Jazz Orchestra program in Scotland, which now enrolls seventy young musicians, ages seven to seventeen, playing in three full-size bands. In addition to many recordings as a sideman, Mr. Temperley has released several albums as a leader, including Nightingale (1991), Sunbeam and Thundercloud with pianist Dave McKenna, (1996), With Every Breath (1998), and most recently Double Duke with several fellow LCJO members (1999). He continues to actively perform and tour both nationally and internationally and is an original member of the LCJO.
Ron Westray (Trombone) was born on July 13,1970 in Columbia, South Carolina, and at age eleven, he had selected the trombone as his instrument. In 1991, as a music stu?dent, Mr. Westray met Wynton Marsalis and Marcus Roberts in a Columbia jazz club. He soon joined the Marcus Roberts Septet, with which he performed on several recordings and national tours. Mr. Westray received his B.A. in Trombone Performance from South Carolina State University and his M.A. from Eastern Illinois University. Mr. Westray toured Europe as a member of the group Jazz Futures II in the summer of 1992. He made his debut at J@LC in 1993, and since then has been a regular member of the LCJO. Mr. Westray has released an album with fellow trombonist and LCJO member
Wycliffe Gordon entitled Bone Structure, regarded as one of the finest trombone recordings available. He currently resides in New York, where he continues to compose, arrange, lead ensembles, and perform with a variety of well-known musicians.
Rodney Whitaker (Bass) was born on February 22, 1968, in Detroit. He began playing violin at age eight and later began studying bass. Mr. Whitaker has performed with Branford Marsalis, Johnny Griffin, Joe Henderson, Joshua Redman, Stanley Turrentine, Antonio Hart, Bob James, Kenny Garrett, and Donald Harrison, among others. Mr. Whitaker has also appeared with Branford Marsalis on Jay Leno's Tonight Show and performed on Spike Lee's film soundtracks for Jungle Fever and Malcolm X. His compositions have been included on Roy Hargrove's Kindred Souls album and Junko Onishi's Crusin' and Piano Quintet Suite albums. Mr. Whitaker has recorded two acclaimed albums as a leader, Children of the Light and Hidden Kingdom. He is a former professor of Jazz Studies at Michigan State University and the University of Michigan. Mr. Whitaker has toured exten?sively with the LCJO and has led many workshops and master classes produced by J@LC.
Jazz at Lincoln Center (J@LC) is a not-for-profit arts organization dedicated to main?taining jazz at the forefront of America's cultural consciousness through performance, education, and preservation. Anchored by the distinguished Lincoln Center Jazz Orchestra and featuring a host of remarkable guests, J@LC produces concerts, lectures, film programs, publications, recordings, television broadcasts, Peabody Award-win?ning radio broadcasts, national and interna?tional tours, an annual high school jazz band competition and festival, workshops, master classes, residencies and other educa?tional programs for people of all ages. Under the leadership of Artistic Director Wynton Marsalis and Executive Producer and Director Rob Gibson, this organization has become the largest producer of jazz pro?gramming in the world. During its 1998-99 season, Jazz at Lincoln Center will produce nearly 400 educational and performance events internationally.
The Jazz at Lincoln Center nationally syndicated weekly radio series, Jazz From Lincoln Center, hosted by Ed Bradley, is broadcast via National Public Radio. Winner of a 1997 Peabody Award, Jazz From Lincoln Center is produced in conjunction with Murray Street Enterprise, New York, Steve Rathe, Senior Producer. October 1998 marked the beginning of its sixth season.
Visit Jazz at Lincoln Center on the Internet at
NHK Symphony Orchestra of Toyko
Charles Du to it, Music Director
Sarah Chang, Violin
Kazue Sawai, Koto, Bass Koto, and Zheng
Sofia Gubaidulina
Sunday Afternoon, April 25, 1999 at 4:00 Hill Auditorium, Ann Arbor, Michigan
In the shadow of the tree
for koto, bass koto, zheng, and orchestra US Premiere Performance Sawai
Jean Sibelius
Violin Concerto in d minor. Op. 47
Allegro moderato Adagio di molto Allegro, ma non tanto
Sergei Prokofiev
Eighty-third 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.
Symphony No. 5 in B-flat Major, Op. 100
Scherzo: Allegro marcato
Finale: Allegro giocoso
Support for this performance is provided by TriMas Corporation, Weber's Inn and media partner, WGTE.
Special thanks to the U-M Center for Japanese Studies and the Japanese Day School of Detroit for their assistance in this residency.
Large print programs are available upon request.
In the shadow of the tree
for koto, bass koto, zheng, and orchestra
US Premiere Performance
Sofia Gubaidulina
Born October 24, 1931 in Chistopol (in the Tatar Republic of the Soviet Union)
In the shadow of the tree revolves around a specific musical and compositional idea, and is based on the following prerequisites: The solo instruments and the orchestra are both divided up into two groups. In each case one of the groups employs a tun?ing which is a quarter-tone lower than that of the other. In the orchestra, "Strings I" is set against "Strings II," whereas the soloist's zheng is tuned a quarter-tone lower than the koto and the bass koto. The unusual tuning makes it possible to treat the twelve-note areas that occur in both groups as contrast?ing musical spheres, or as "a region of light" and "a region of shadow."
The discourse involving the two regions ("light" and "shadow") constitutes an attempt to come to grips with both the musical rendering and the emotional signif?icance of the phenomenon we refer to as shadow. In the form of musical discourse, this process leads to a greater understanding of the phenomenon which in the end reveals to us that shadow is the sphere of existence from which life emanates, and subsequently, light.
Program note by Sofia Gubaidulina.
Violin Concerto in d minor. Op. 47
Jean Sibelius
Born December 8, 1865 in Hiimeenlinna,
Finland Died September 20, 1957 in Jarvenpcia,
"I've got some lovely themes for a violin concerto," Sibelius wrote to his wife, Aino, in September 1902. The Finnish composer, at thirty-seven already a national figure and the recipient of an annual pension from the Finnish government, had been asked by the German violinist Willy Burmester to write a violin concerto. Despite the "lovely themes" Sibelius had, however, the concerto wasn't coming along as expected. The difficulties had to do with the composer's alcoholism that around this time began to alarm his family seriously; that addiction in turn seemed to stem from a deep sense of inner insecurity. It was a year before Sibelius sent the piano score to Burmester, who responded enthusiastically:
I can only say one thing: wonderful! Masterly! Only once before have I spoken in such terms of a composer, and that was when Tchaikovsky showed me his concerto.
What happened after this is rather hard to explain. Burmester was expecting to play the world premiere of the new work in the spring of 1904, but Sibelius, for financial reasons, pushed for an earlier date even though Burmester wasn't available sooner and the orchestration of the concerto was not even finished. Sibelius completed the concerto sometime before the end of 1903, and gave it to a local violin teacher, Viktor Novacek. All accounts agree that Novacek was hardly more than a mediocre player. Leading Sibelius biographer Erik Tawaststjerna writes that at the Helsinki premiere, in February 1904, "a red-faced
and perspiring Novacek fought a losing bat?tle with a solo part that bristled with even greater difficulties in this first version than it does in the definitive score."
Sibelius had been trying to pacify Burmester by saying that "Helsinki doesn't mean a thing," and still promised him per?formances in Berlin and elsewhere. But after the Helsinki premiere, he was dissatisfied with the work and decided to revise it entirely. After the definitive version was completed, he sent it off to his German publisher who suggested Karl Halir as the soloist. Sibelius acquiesced, passing over Burmester for the second time. Greatly offended, Burmester never played the work whose composition he had initiated.
Halir, the concertmaster of the Berlin Court Opera, and a professor at the Conservatory, was a fine violinist but not a virtuoso of the highest caliber. It was a sev?enteen-year-old boy from Hungary named Ferenc (Franz von) Vecsey who became the work's first international champion, and it is to him that the printed score is dedicated.
But, as Tawaststjerna has noted, Sibelius wrote his concerto for neither Burmester nor anyone else but himself. As a young man, he had hoped to become a concert violinist, and gave up his dreams of a virtu?oso career only with great reluctance. At any rate, the violin was his primary instrument; unlike Brahms who consulted Joseph Joachim when he was writing his violin con?certo, Sibelius did not need to ask others for advice on technical matters. Tawaststjerna writes, "Naturally in his imagination he identifies himself with the soloist in the Violin Concerto and this may well explain something of its nostalgia and romantic intensity."
"Nostalgia and romantic intensity" -these are indeed key words if one wishes to describe the Sibelius Violin Concerto. Written in the first years of the twentieth centurv, it looks back to the great Romantic
concertos of the nineteenth century. The beginning, with the d-minor tremolos of the muted first and second violins over which the soloist plays a wistful melody, is unabashedly old-fashioned. The only unconventional features are the repeated augmented fourth leaps (from D to G-sharp or G to C-sharp) which create harsher sonorities, and the irregular phrase struc?ture of the theme, which makes it impossi?ble to predict how the melody is going to evolve.
Simple and song-like at first, the violin part gradually becomes more and more agi?tated, erupting in a first virtuoso cadenza. As the meter changes from 44 to 64 time, the orchestra introduces a second idea, which the violin soon takes over; when that happens, however, the tempo suddenly slows down and the character of the theme changes from dramatic to lyrical. This is fol?lowed by a third, purely orchestral section, in a fast 22 time; lively and energetic, it ends in pianissimo with the cellos and basses repeating a single note (B-flat). The three sections roughly outline the exposition of a sonata form, although the meter changes and the succession of characters is unusual; also, the key of b-flat minor, which is even?tually reached, is a highly unusual tonal direction for a concerto movement in d minor. Its many flats contribute to a certain dark, "Nordic" flavor in the concerto, rein?forced by the frequent use of the violin's low register. The brass parts also abound in "glacial" low notes, harmonized with aus?tere-sounding chordal passages.
There is no real development section; its place is taken by the solo cadenza, which occurs in the middle of the movement rather than at the end as usual. The cadenza is followed by a free recapitulation in which the first melody returns almost literally. The second theme (especially in its orchestral rendition) is substantially modified. The melody of the third section is now given to
the violas while the soloist adds virtuoso passages, turning the ending of the move?ment into a kind of grandiose Gypsy fantasy.
The second movement "Adagio di molto" is based on the combination of two themes, one played by the two clarinets at the begin?ning, the other by the solo violin a few mea?sures later. The violin melody is, according to the composer's own written instruction, "sonorous and expressive;" the clarinet theme later grows into an impassioned mid?dle section whose dynamism carries over into the recapitulation of the violin melody (part of it is now given to the woodwinds). Only at the very end does the melody find its initial peace and tranquility again.
Speaking about the Finale, it is impos?sible not to quote Donald Francis Tovey's characterization of its main theme as a "polonaise for polar bears." Tovey's words capture the singular combination of dance rhythms and a certain heavy-footedness felt at least at the beginning of this movement. Again, there are two themes, one in a polon?aise rhythm, and one based on the alterna?tion of 68 and 34 time (the first is subdi?vided into 3 + 3 eighth-notes, the second into 2 + 2 + 2). "With this," Tovey conclud?ed his analysis, "we can safely leave the finale to dance the listener into Finland, or what?ever Fairyland Sibelius will have us attain."
Symphony No. 5 in B-flat Major, Op. 100
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine Died March 5, 1953 in Nikolina Gora, near Moscow
In the nineteenth century, the symphony as an artform acquired certain attributes it had not had earlier. Externally, symphonies became longer and longer and employed ever vaster orchestral resources. Beneath that surface, the emotional range of the
works expanded dramatically, and the sym?phony often came to represent a struggle between opposing forces. To an increasing extent, symphonies were both conceived and perceived as a form of instrumental drama, with forces of "darkness," "light," "fate," "longing," etc. either explicitly or implicitly present in the music.
Very few twentieth-century composers have been able to address this characteristic of the Romantic symphony without falling into the trap of epigonism. Many were turned off by the intense emotionality of the Romantic symphony. One of the first com?posers to turn their backs on this approach was the young Prokofiev, who in his Classical Symphony (1917) had adopted an eighteenth-century formal framework and proceeded to poke gentle fun at an entire classical tradition.
Much water had passed under the bridge since that youthful tour deforce. After years of revolution, emigration and home?coming, the fifty-year-old Prokofiev found himself in a Soviet Union that was very dif?ferent from what he had bargained for; a Soviet Union, moreover, that was being rav?aged by World War II, forcing the composer to be evacuated from Moscow. In addition, Prokofiev's marriage had recently broken up and the composer was now living with a woman many years his junior. It was under these circumstances that Prokofiev returned to symphonic form for the first time in fourteen years. (His Symphonies Nos. 2-4 had been written in emigration between 1924 and 1930.)
It may have been, at least in part, the war experience that enabled Prokofiev to connect with the symphonic tradition of the nineteenth century and to embrace its dramaturgy. Symphony No. 5 claims Brahms, Tchaikovsky, and Sibelius as its spiritual ancestors, and even the influence of Shostakovich -Prokofiev's younger Russian contemporary and rival -may be felt occasionally. In Prokofiev's Symphony
No. 5, the traditional symphonic struggle ends with a complete victory, consistent with Soviet expectations, which for once coincided with Prokofiev's own personal feelings.
Prokofiev himself felt that he had pro?duced his finest work with his Symphony No. 5. He called it, in characteristic Soviet propagandistic language, "a symphony about the human spirit," and declared: "I wanted to sing the praises of the free and happy human being -of such a person's strength, generosity, and purity of soul. I cannot say I chose this theme; it was born in me and had to express itself."
Prokofiev spent the historic summer of 1944 in Ivanovo, outside Moscow, at a vaca?tion estate run by the Soviet Composers' Association. All the prominent Soviet com?posers, Shostakovich, Khachaturian, and Kabalevsky, were there. It was in that nur?turing environment -under conditions significantly better than those prevailing in the city -that the symphony was written, at the exact time when the Red Army was liberating Russia from the Nazi invaders.
Prokofiev's Sytyiphony No. 5 is an emi?nently melodic piece. Each of its four move?ments is full of singing themes and expan?sive lyrical phrases. Traditional schemes such as sonata form or scherzo are respect?ed, but these formal outlines are filled out with material that is not always consistent with tradition. The first movement, for example, is an almost academically rigorous sonata form, but its tempo is a leisurely Andante instead of the faster Allegro that might have been expected -a circumstance that confers a greater dramatic weight on the movement. Two of the themes are lyrical and introspective, while the faster-moving third subject is closer to a scherzo character. The elaboration of all three ideas is frequently contrapuntal, with several different melodic lines superimposed on one another.
The second movement is a scherzo in all but name. Its main melody, in the droll vein that is so typical of Prokofiev, is first played by the solo clarinet to a violin accompaniment that keeps repeating a sin?gle two-note pattern. The orchestration of this theme becomes richer and more varied as the movement progresses. The middle section is a fast dance in 34 time, framed by a haunting woodwind melody in a slower tempo. The scherzo music then returns, shriller and more energetic than the first time; the movement ends abruptly after a powerful orchestral crescendo.
The third movement "Adagio" is the emotional centerpiece of the symphony. It begins with an expressive melody played by the clarinets that develops towards a climax of great intensity. In the middle section, there appears a figure in dotted rhythm (with longer and shorter notes alternating) that gives the section a firm and resolute character. The slightly modified recapitula?tion ends abruptly after a powerful crescendo.
The "Finale" opens with a short intro?duction based on reminiscences of the first movement. The main theme is, once more, presented by the clarinet to a march-like ostinato (rhythmically unchanging) accom?paniment. The entire movement exudes the "free and happy" spirit Prokofiev spoke about. Its initially relaxed and easy-going mood becomes more exuberant towards the end. The growing role of the percussion instruments is to a large part responsible for the increase in excitement that culminates in the last measures of the symphony.
The premiere of Symphony No. 5, on January 13, 1945, was Prokofiev's last appearance as a conductor. Three weeks later he had a heart attack that caused him to fall down the stairs at his house and suf?fer a brain concussion. He never fully recov?ered from these events, and although he continued to compose almost to the end of his life, his health remained precarious. The
party resolution of 1948, which denounced Prokofiev, Shostakovich and others as "for?malist" composers (the ultimate condemna?tion at the time), was a further blow. Symphony No. 5, eagerly anticipated by the Soviet musical world and greeted with enthusiasm by critics and audiences alike, remained Prokofiev's last great success. The symphony, whose performance was preceded by the announcement of the Red Army's latest victory at the Vistula river, mirrored not only the feelings of the composer, but also those of a "free and happy" audience.
Program notes by Peter Laki.
Charles Dutoit's association with the NHK (Nippon Hosso Kyokai) Symphony Orchestra began as a guest conductor in 1987. Since September 1996, he has been the Principal Conductor of the NHK Symphony Orchestra, and in September 1998 was named the Orchestra's first-ever Music Director. Mr. Dutoit has toured with the Orchestra in Europe and the People's Republic of China. He embarked on a series of recordings in 1997, including Prokofiev's Symphony No. 6 and excerpts from Romeo and Juliet.
Mr. Dutoit is also the Music Director of the Orchestre Symphonique de Montreal (OSM). Today, their musical partnership is recognized as one of the most successful in the world. In 1990, he also became Music Director of the Orchestre National de France. Mr. Dutoit has appeared as a guest conductor with most of the world's leading orchestras including Boston, New York, Philadelphia, Cleveland, Chicago, Pittsburgh, Los Angeles and San Francisco. He has also conducted the Israel Philharmonic Orchestra, the Berlin and Munich Philharmonics, the Royal Concertgebouw
Orchestra, at the Deutsche Oper in Berlin and at the Metropolitan Opera, among others.
In addition, Charles Dutoit is the Artistic Director and Principal Conductor of two of North America's most prestigious summer festivals: the Philadelphia Orchestra's concert series at the Mann Music Center in Philadelphia, and the Saratoga Performing Arts Center in Saratoga Springs, New York. Charles Dutoit has received numerous awards and distinctions such as honorary doctorates from McGill University, the University de Montreal and the University Laval, and the Canadian Music Council Medal in recognition for his excep?tional contribution to music in Canada.
Since 1981, Charles Dutoit and the OSM have undertaken important tours including many visits to the United States, Europe, Asia, the Far East and South America. The OSM is the only Canadian
Charles Dutoit
orchestra to have performed at the Hollywood Bowl, and at the Ravinia, Tanglewood and New York festivals. Mr. Dutoit and the OSM have produced over seventy-five recordings with Decca, winning more than forty national and international awards and distinctions. In 1996, the OSM
and Charles Dutoit received their first Grammy Award for Berlioz's Les Troyens. Charles Dutoit's numerous other recordings have been released on the Deutsche Grammophon, EMI, Philips, CBS and Erato labels.
This afternoon s performance marks Charles Dutoit's second appearance under VMS aus?pices.
Violinist Sarah Chang, now eighteen years old, is recognized as one of classical music's most captivating and gifted artists. Appearing in the music capitals of Asia, Europe and the Americas, she has collaborated with nearly every major orchestra, including the New York Philharmonic, the Philadelphia Orchestra, the Chicago Symphony, the Boston Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, the San Francisco Symphony and the Pittsburgh Symphony. Internationally, she has appeared with the Berlin Philharmonic, the Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Leipzig Gewandhaus Orchestra, the Orchestre National de France and the principal London orchestras. Among the esteemed conductors with whom she has worked are Daniel Barenboim, Sir Colin Davis, Charles Dutoit, Bernard Haitink, James Levine, Lorin Maazel, Kurt Masur, Zubin Mehta, Riccardo Muti, Andre Previn, Wolfgang Sawallisch and Leonard Slatkin. She has reached an even wider audience through her many television appearances, including sev?eral concert broadcasts, and her best-selling recordings for EMI Classics.
During the 1998-99 season, Sarah Chang has an especially active season in Europe, appearing with Valery Gergiev and the London Philharmonic, Sir Colin Davis
and the London Symphony Orchestra and Wolfgang Sawallisch and the Vienna Symphony, as well as with the Bamberg Symphony, the Bilbao Symphony, the Gulbenkian Orchestra of Lisbon, the Prague Chamber Orchestra and the Warsaw Philharmonic. She gives a series of concerts in Israel with the Israel Philharmonic Orchestra under Zubin Mehta and joins Charles Dutoit and the NHK Symphony Orchestra on their United States tour in 1999. Her other North American engage?ments include appearances with the New York Philharmonic, the Boston Symphony Orchestra, the Saint Paul Chamber Orchestra and the symphony orchestras of Baltimore, Milwaukee, Montreal, Seattle and Vancouver.
Miss Chang's 1997-98 season was high?lighted by a series of major recital debuts in both Europe and the United States, taking her to Carnegie Hall in New York and to the Barbican Centre in London as well as to Berlin, Boston, Chicago, Florence, Madrid, Milan, Vancouver and Washington, DC,
Sarah Chang
among other cities. Her concert engage?ments included returns to the New York Philharmonic for her second Live from Lincoln Center telecast with the orchestra, as well as to the orchestras of Detroit, Minnesota, Los Angeles, Oregon, Philadelphia, St. Louis and San Francisco. In Europe, she gave concerts with the Bayerischer Rundfunk Orchestra in Munich, the Philharmonia Orchestra and the St. Petersburg Philharmonic.
Sarah Chang records exclusively for EMI Classics and has released two albums of virtuoso encore pieces {Debut and Simply Sarah); the Tchaikovsky Violin Concerto with Sir Colin Davis and the London Symphony; the Paganini Violin Concerto No. 1 and works of Saint-Saens with Wolfgang Sawallisch and the Philadelphia Orchestra; and a coupling of the Lalo Symphonie espangole and the Vieuxtemps Violin Concerto No. 5 with the
Concertgebouw and Philharmonia orches?tras led by Charles Dutoit. She has also recorded Vaughan Williams' The Lark Ascending with Bernard Haitink and the London Philharmonic. Her most recent EMI release features the Mendelssohn and Sibelius Violin Concertos with Mariss Jansons and the Berlin Philharmonic.
Born in Philadelphia to Korean parents, Sarah Chang began to study the violin at age four and within a year had already performed with several orchestras in the Philadelphia area. Her early auditions, at age eight, for Zubin Mehta and Riccardo Muti led to immediate engagements with the New York Philharmonic and the Philadelphia Orchestra, respectively. She currently attends high school in Cherry Hill, New Jersey, while continuing violin studies with Dorothy DeLay at The Juilliard School.
Miss Chang has received the coveted Avery Fisher Career Grant (the youngest artist to do so) as well as a special Gramophone award as "Young Artist of the Year" (1993) and "Newcomer of the Year" honors at the International Classical Music Awards in London for 1994.
This afternoon's performance marks Sarah Chang's debut appearance under UMS auspices.
The renowned koto player Kazue Sawai has a wide repertoire ranging from koto classics to contemporary commissioned works as well as col?laborations with jazz musicians. She began her studies at the age of eight under Michio Miyagi and graduated from Tokyo University of Fine Arts and Music. She made her debut in a joint recital with her husband, Tadao Sawai. She is the co-founder with her husband of the Sawai Koto School in Tokyo.
Ms. Sawai has toured widely through?out the world as a soloist, with her Koto
K.izue Sawai
Ensemble and in joint recitals with a variety of musicians. Since 1989 she has been invit?ed to the Bang on A Can Festival in New York City, the Moers Jazz Festival in Gemini, the Vienna Festival and numerous other international music festivals. In 1991 she toured Russia and Ukraine and, in 1992, she performed throughout the Baltic countries.
Between 1981 and 1985, she performed extensively in Japan in a trio tour with com?poser Toshi Ichiyanagi and percussionist Sumire Yoshihara. They gave most of their concerts in non-traditional venues in an effort to reach a broader audience and to make a direct musical appeal to that audi?ence base.
In recent years, as an exponent of new music, she has collaborated with artists of various genres, premiering works by such figures as John Zorn, Barre Phillips, Carl Stone and Ned Rothenberg. She has also worked with a number of leading com?posers, including Sofia Gubaidulina, Yuji Takahashi, Peter Hamill and David Behrman. In the last few years, her interests have expanding to include other Asian traditions: she has pursued collaborative
projects with Korean musicians and an Indonesian dance, Saldono Kusumo.
Kazue Sawai has received numerous awards and grants from, among others, the Japan Foundation and RCA Records. In 1988 she spent six months in New York City on an ACC grant to work with American com?posers and musicians. She also gave lecture-concerts at several American universities.
Her discography includes Three Strangers
in Paris (Kyoto Records), Kazue Sawai Koto Ensemble Live at Dacapo in Bermen (d'c Records), Three Pieces (Collecta), The Wind is Calling Me Outside (Kojima) and Eye to Eye (Collecta).
This afternoon's performance marks Kazue Sawai's debut appearance under UMS aus?pices.
The oldest professional orchestra in Japan, the NHK (Nippon Hosso Kyokai) Symphony Orchestra was established in 1926 as the New Symphony Orchestra. The first subscription concert, held in 1927, was conducted by Hidemaro Konoe at the Japan Youth Hall. In 1936, the Orchestra granted solo broadcasting rights to the Japan Broadcasting Corporation (NHK) and appointed Joseph Rosenstock Principal Conductor. Renamed the Japan Symphony Orchestra in 1942 with Kazuo Yamada and Hisatada Otaka as permanent conductors, the Orchestra continued its subscription
concerts throughout World War II.
In 1951, the Orchestra was given its current name -the NHK Symphony Orchestra. Kurt Woss was appointed Principal Conductor, and in the following year, the NHK Symphony Orchestra estab?lished the Otaka Prize for major composi?tions. Appointed Principal Conductor at the beginning of the 1996-1997 season, Charles Dutoit has succeeded in expanding the reach of the Orchestra in numerous ways. He has widened the Orchestra's repertoire with innovative programming, engaged in more frequent overseas tours, participated in commissioning original works, and recorded several discs. In 1998, Charles Dutoit was named the NHK Symphony Orchestra's first-ever Music Director.
Since 1953 many of the world's leading conductors have led the NHK Symphony Orchestra, including Jean Martinon and Herbert von Karajan, followed by Igor Stravinsky, Ernest Ansermet and Igor Markevich. The Orchestra launched its first world tour in 1960. The honorary conduc-torships of Lovro von Matacic, Joseph Keilberth and Wolfgang Sawallisch also con?tributed notably to raising the orchestra's standards and enhancing its worldwide rep?utation.
Currently, in addition to Music Director Charles Dutoit, the NHK Symphony Orchestra's artistic leadership includes honorary conductor laureate Wolfgang Sawallisch, honorary conductors Otmar Suitner, Horst Stein and Herbert Blomstedt, and permanent conductors Hiroyuki Iwaki, Yuzo Toyama and Hiroshi Wakasugi.
This season, the Orchestra has visited the People's Republic of China and will tour North America. The Orchestra has commis?sioned original works by composers Sofia Gubaidulina (world premiere, April 1999), Tan-Dun (world premiere, December 1999) and Krzysztof Penderecki (world premiere,
December 2000). To coincide with the North American tour, Decca will release a compact disc coupling Prokofiev's Symphony No. 6 and excerpts from Romeo and Juliet in April 1999.
The Orchestra presents approximately 150 concerts annually, including fifty-four subscription concerts with twenty-seven dif?ferent programs at its home venue, the NHK Hall in Tokyo. Since the fall of 1997, the Orchestra has toured various cities nationally including Okayama, Nagoya and Kamakura. All subscription programs are broadcast on NHK-TV and FM Radio nationwide in Japan. Through NHK World service and other international broadcasting networks, the Orchestra may also be heard in Europe, America and Asia.
This afternoon's performance marks the NHK Symphony Orchestra's second appearance under UMS auspices.
NHK Symphony Orchestra of Tokyo
Charles Dvtoit, Music Director
Wolfgang Sawallisch, Honorary Conductor Laureate
Otmar Suitner, Honorary Conductor
Horst Stein, Honorary Conductor
Herbert Blomstedt, Honorary Conductor
Hiroyuki Iwaki, Permanent Conductor Yuzo Toyama, Permanent Conductor Hiroshi Wakasugi, Permanent Conductor
Solo Concertmaster Masafumi Hori
Fuminori Shinozaki
First Violin Nobuko Obayashi Yukio Kancda Toshiyuki Kimata Shigeo Kubota Machia Saito Toshihiko Sakai Yutaka Tanaka Akira Tabuchi Hiroko Tsuruga Hiromichi Nakase Yumiko Nakamura Tomoyuki Hayashi Shinji Muto Masahiro Morita
Second Violin Satoru Horic, Principal Kazukuni Murakami, Principal Ken Itabashi Mihoko Umezawa Hachiro Omatsu Tomoko Kawakami Kenji Shimizu Atsushi Shirai Koichi Suzuki Kyoko Tanino
Kazuhiko Hirano Kcnji Matano Chikahiro Miyazato Toshiro Yokoyama
Kazunori Kawasaki, Principal
Yoshito Okubo
Daisuke Inobe
Satoshi Ono
Hisashi Ono
Shigetaka Obata
Takanori Kakehashi
Masako Tabuchi
Hidcaki Nakatake
Yuzo Nagano
Yuji Yamada
Hiroko Yamada
Yo Kigoshi, Principal Masato Iwai Ayumu Kuwata Masahide Sannohe Shunoichi Tazawa Hisaya Dogin Tsunehiko Niwa Shunsuke Fujimura Hiroki Mitani Shunsuke Yamanouchi
Hiroshi Ikcmatsu, Principal
Masanori Ichikawa
Yoshiyuki Itoda Takashi Konno Hiroaki Sagawa Kinji Tatebc Masuo Niino Shu Yoshida
Tomio Nakano, Principal Km Sugawara Junzo Hosokawa
Daisuke Mogi, Principal Yoko Kojima
Michiaki Mania
Seiji Yokokawa, Principal
Hiroshi Uchiyama
Akihisa Kato
Kenji Matsumoto
Koji Okazaki, Principal Keiko Sugawara Ii.iru Morita
Tetsuo Higuchi, Principal
Yoshio Ono
Hiroyuki Nakajima
Makoto Yamamoto
Sumiharu Arima
Yukihiro Sekiyama, Principal
Akihiko Ikawa
Sachio Hotokezaka
Masakatsu Kurita, Principal Koichi Akiyama Takenori Yoshikawa
Tuba Ikumitsu Tado
Timpani and Percussion Kazunori Momose, Principal Shoichi Kubo Tadashi Setogawa Toru Ideue Yasutoshi Takayama Satoshi Takeshima Takayoshi Yoshioka
Risako Hayakawa
Piano, Celesta, and Harpshichord Reiko Honsyo Miwako Kanazaki
NHK Symphony Orchestra Administration
Ken Soga, Chairman
Takeshi Hara, Deputy Chairman
Michio Takemori, Artistic Administrator
Keiji Toshimitsu, Administrator
Takashi Kanazawa, Stage Manager
Akihito Tado, Assistant Stage Manager
Katsu Watanabe, Librarian
Akira Tabuchi, Librarian
Kenji Yakushiji, Tour Director
!un Sugawara, Inspector
Hiromichi Nakase, Inspector
Hiroki Mitani, Inspector
Kajimoto Concert Management Co., Ltd.
Masa Kajimoto, President
Saeko Yamato, Manager (International Division)
ICM Artists Touring Division
Byron Gustafson, Director and Senior Vice President
Leonard Stein, General Manager and Vice President
Russ Pooler, Stage Manager
Geoffrey Holland, Tour Program Coordinator
Exclusive Tour Management:
ICM Artists, Ltd.
Lee Lamont, Chairman
David V. Foster, President and CEO
A member of ICM Holdings Inc.
The NHK Symphony Orchestra gratefully acknowledges the following sponsors of its United States tour:
Embassy of Japan
Organization of the Agency for Cultural Affairs The Japan Foundation Hoso Bunka Foundation
Iwatani International Corporation Mitsubishi Estate Co., Ltd. Sony Corporation
Aisin AW Co., Ltd. Shiseido Co., Ltd. Otafuku Sauce Co., Ltd.
horal Union Series
Ten Performances in
Detroit Symphony Orchestra
Neeme Jarvi, conductor Sergei Leiferkus, bass-baritone Estonian National Male Chorus UMS Choral Union Sunday, October 3, A P.M.
Berlin Philharmonic Orchestra
Claudio Abbado. conductor Wednesday, October 20, 8 P.M.
Les Arts Florissants
Henry Purcell's King Arthur William Christie, conductor Wednesday, November 10, 8 P.M.
Yo-Yo Ma, ceiio
Kathryn Stott. piano______
Thursday, January 20, 8 P.M.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Schlime, piano UMS Choral Union Monday, January 24, 8 P.M.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor
Yuri Bashmet, viola______
Saturday, February 5, 8 P.M.
Anne-Sophie Mutter, violin
Lambert Orkis, piano_____
Saturday, February 12, 8 P.M.
Murray Perahia piano
Wednesday, February 16, 8 P.M.
English Concert
Trevor Pinnock, conductorharpsichord Saturday, March 11,8 p.m.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 P.M.
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 Restauiant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Ren?e Fleming, soprano
Pre-performance dinner
Sun. Jan. 17 The Gospel at Colonus
Post-performance dinner
Sun. Feb. 7 American String Quartet
Post-performance dinner
Mon. Feb. 15 Orpheus Chamber Orchestra
with Pepe Romero Pre-performance dinner
Wed. Mar. 24 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!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. Jan. 16 The Gospel at Colomis
Fri. Jan. 29 Anne Sofie von Otter, mezzo soprano
Fri. Feb. 12 ImMERCEsion: The Merce Cunningham
Dance Company
Sat. Feb. 20 Meryl Tankard Australian Dance
Theatre: Furioso
Fri. Mar. 12 Abbey Lincoln
Sat. Mar. 20 Alvin Ailey American Dance Theater
Fri. Mar. 26 Sweet Honey in the Rock
Package price $209 per couple (not including tax & gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Mon. Jan. 18 The Gospel at Colonus
Pre-performance dinner
Tue. Feb. 23 Kodo
Pre-performance dinner
Sun. Mar. 28 American String Quartet
Post-performance dinner
Fri. Apr. 23 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 American String Quartet
Pre-performance dinner
Thur. Mar. 11 James Galway, flute
Pre-performance dinner
Fri. Mar. 19 Alvin Ailey American Dance Theater
Pre-performance dinner
Sun. Apr. 25 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 I 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.
The UMS Card
The University Musical Society and the following businesses thank you for your generous UMS sup?port by providing you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Acura
Ann Arbor Arts Center
Blue Nile Restaurant
Bodywise Theraputic
Massage Cafe Marie Chelsea Flower Shop Dobbs Opticians Inc.
of Ann Arbor Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques
John Leidy Shop
John's Pack & Ship
Kcrrytown Bistro
King's Keyboard House
Michigan Car Services
Paesano's Restaurant
Perfectly Seasoned
Regrets Only
Ritz Camera One Hour
Schoolkids Records
Shaman Drum Bookshop
SKR Classical
The UMS card also entitles you to 10 off your ticket purchases at seventeen other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS box office for more information.
--The Detroit Free Press
For lively and informative news
and talk programs from National
Public Radio, tune to 91.7 FM.
Morning Edition -
weekdays 5 9 am
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weekdays 4 6:30 pm
Michigan Radio... your source for NPR news.
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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.
rPl_ -_. y. . Great performances--the best in music, theater and dance--are pre-
" 1U U.. 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
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.
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
Cafe 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 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
Edward Surovell and Natalie Lacy
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
Weber's Inn
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 E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf 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 Mm and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Alf Studios
Emily W. Bandera, M.D. Peler and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreutcr
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 ludith 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 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 M.ixinc 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 Barfkld 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 J. 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. Grade
Elizabeth Needham Graham
Dr. John and Renee M. Greden
Lila and Bob Green
John 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 Khngler 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 Jane Mackie-Mason Mark Mahlberg 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 Metrger Myrna and Newell MiHer 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 Tanter 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 Wiltes 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
Foundations 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 ?. Barnett
Leslie and Anita Bassett
Scott Beaman
Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. 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 Mclinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Kathleen J. Crispell and
Thomas S. Porter
Mary R. and John G. Curtis
Ed and Ellic Davidson
Laning R. Davidson, M.D.
lohn and Jean Debbink
Mr. and Mrs. Jay De Lay
Louis M. DeShantz
Elizabeth Dexter
Gordon and Elaine Didier
Steve and Lori Director
Dr. and Mrs. Edward F. Domino
Thomas and Esther Donahue
Eugene and Elizabeth Douvan
Prof. William Gould Dow
Jane E. Dutton
Martin and Rosalie Edwards
Joan and Emil Engel
Susan Feagin and John Brown
Reno and Nancy Feldkamp
Carol Fincrman
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Jennifer 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 Lela 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 Sieve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg twin . 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 leannc Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Horner Dr. and Mrs. Joseph A. Houle Linda Samuelson and
loel 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 Shcrri 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 Dcanna Rclyca 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 Overberger 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
Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart John and Marilyn Rintamaki lames and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Ian 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 Westerman 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. and Mrs. A. C. Wooll 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 Iind 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 AHcmang James and Catherine Mien Richard and Bettye 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. Angellis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas J. and Mary E. Armstrong Gaard and Ellen Arncson Mr. and Mrs. Lawrence E. Arnett Dwight Ashley
Mr. and Mrs. Dan E. Atkins III Eric M. and Nancy Auppcrle Erik and Linda Lee Austin Eugene and Charlene Axelrod Shirley and Don Axon Virginia and Icratd Bachman Lillian Back Jane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Robert L. Baird Bill and Joann Baker Dennis and Pamela (Smittcr) Baker Laurence R. and Barbara K. Baker Maxine and Larry Baker Drs. Helena and Richard Balon )ohn R. Barcham David and Monika Barera
4 4 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Shcrri H. Barnes
Donald C. Barnette, Jr.
Mark and Karla Bartholomy
Roscmarie Bauer
lames 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 Mcrete and Erling Blondal Bengtsson Bruce Benner loan and Rodney Bentz Mr. and Mrs. Ib Bentzcn-Bilkvist Dr. Rosemary R. Bcrardi Barbara Levin Bergman Minnie Berki
Abraham and Thelma Berman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Bcrrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher R. Bezak and R. Halstead )ohn and Marge Biancke Irene Biber Eric and Doris Billes lack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly I. Bole Catherine I. Bolton .Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonncll Ed and Luciana Borbcly Lola I. 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 oel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Kl.i Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop ludy and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. Joanne Cage
Louis and Janet Callaway H. D. Cameron Jenny 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 J. Wehrley and Patricia Chapman Joan and Mark Chester Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Mark Clague 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 R Collier
Ed and Cathy Colone
Edward J. and Anne M. Comeau
Carolyn and L. Thomas Conlin
Patriot 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. lames 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
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
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 R 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
Dale 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 Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and Jean Lawton Jack and Wylma Elzay Michael and Margaret Emlaw Mackenzie and Marcia Endo Jim and Sandy Eng Patricia Enns
Carolyne and Jerry Epstein Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman
Eric and Caroline Ethington
Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahce
Elty and Harvey Falil
Thomas and Julia 1 .ilk
Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr.
Walter Federlein
Inka and David Felbeck
Phil and Phyllis Fellin
Larry and Andra Ferguson
Karl and Sara Fiegenschuh
Clay Finkbeiner
C. Peter and Bev A. Fischer
Gerald B. and Catherine L. Fischer
Dr. Lydia Fischer
Patricia A. Fischer
Charles W. Fisher
Eileen and Andrew Fisher
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
Barbara and lames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Flucke
Maureen Forrest, M. D. and
Dennis Capoz2a Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Frames Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris C Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Getfond 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. Harlan Gilmore Beverly Jeanne Giltrow II.m Gittlen
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Milch 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. ana 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
Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Mrs. William Halstead Mrs. Frederick G. Hammitt Dora E. Hampel Lourdcs S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjcs 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
James B. and Roberta Hause Jeannine and Gary Hayden Mr. and Mrs. Edward J. Hayes Derek and Cristina Hcins Mrs. Miriam Heins Jim and Esther Hcitler Sivana Heller
Margaret and Walter Helmrcich 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 Hoerncr Anne Hoff and George Villec Robert and Frances Hoffman Carol and Dieter Hohnke John and Donna Hollowcll Howard L. and Pamela Holmes Ken and [oyce Holmes Hisato and Yukiko Honda Arthur G. Homer, 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. Hut. Jr. Mrs.V.C Hubbs Charles T. Hudson Hubert and Helen Hucbl Harry and Ruth Huff Mr. and Mrs. William Hufford Jane Hughes
Joanne Winkleman Hulce Kenneth Hulsing Ann D. Hungerman Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. and Mrs. Jacob Hurwitz Bailie, Brcnda and
Jason Prouser 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 Andrec Joyaux and Fred Blanck Tom and Marie luster Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Thomas and Rosalie Karunas Alex F. and Phyllis A. Kato Nick and Mcral Kazan
Julia and Philip Kearney
William and Gail Keenan
Janice Keller
James A. Kelly and Mariam C. Noland
John B. Kciin.trcl
Bryan Kennedy
Frank and Patricia Kennedy
Linda Atkins and Thomas Kenney
Paul and Leah Kilcny
Jeanne M. Kin
William and Betsy Kim .mi
Paul and Dana Kissner
Shira and Steve Klein
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 Kocnig
Ann Marie Kotre
Dick and Brenda Krachenbcrg
Jean and Dick Kraft
Doris and Don Kraushaar
David and Martha Krehbiel
Sara Kring
Alan and Jean Krisch
Bert and Geraldinc Kruse
Danielle and George Kuper
Dr. and Mrs. Richard A. Kutcipal
Jane Laird
Mr. and Mrs. Seymour Lampcrt
Henry and Alice Landau
Pamela and Stephen Landau
Patricia M. Lang
Marjoric Lansing
Carl F. and Ann L La Rue
Beth and George Lavoie
Mrs. Kent W. Leach
Chuck and Linda Leahy
Fred and Ethel Lee
Muslim and Christina Lee
Mr. Richard G. LeFauve and
Mary F. Rabaut-LcFauve Ann M. Leidy
Mr. and Mrs. Fernando S. Leon Ron and Leona Leonard Sue Leong Margaret E. Leslie Richard LeSueur David E. Levine George and Linda Levy Donald J. and Carolyn Dana Lewis Judith 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 Macnce Walter A. Maddox Suzanne and Jay Mahler Hans and )ackie Maier Ronald and Jill Donovan Maio Deborah Malamud and
Neal Plotkin William and Joyce Malm Claire and Richard Malvin Mclvin and Jean Manis Pearl Manning Howard and Kate Markel Lee and Greg Marks Alice and Bob Marks Frederick, Deborah and
James Marshall Rhoda and William Martel Ann W. Martin Rebecca Martin Debra Mattison Glenn D. Maxwell John M. Allen and Edith A. Maynard
Micheline Maynard
LaRuth McAfee
Dores M. McCree
Jeffrey T.McDole
James and Kathleen McGauley
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 Jim Newton John and Ann Nicklas 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. i Kt.111 n Lillian G. Ostrand Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujii 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 Pek 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 Phelps 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
Malayatt 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
(Catherine 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 Jim Saalberg
Theodore and Joan Sachs
Arnold Samcroff and Susan McDonough
Miriam S. Joffe Samson
Tito and Yvonne Sanchez
Daren and Marylo Sandberg
John and Reda Santinga
Mike and Christi Savitski
Helga and Jochen Schacht
Chuck and Mary Schmidt
Courtland and Inga Schmidt
Elizabeth L. Schmitt
Chartcnc 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 Scodel
Jonathan Brombcrg 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 Shopc
Hollis and Martha A. Showaltcr
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 Simonte
Robert and Elaine Sims
Alan and Eleanor Singer
Donald and Susan Sinta
lrm.1 I. Sklcnar
Beverly N. Slater
Tad Slawecki
). Barry and Barbara M. Sloat
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard and Julie Sohnly
James 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 Steck
Virginia and Eric Stein
Frank D. Stella
Ronald R. Stcmpien
William and Georgine Sleude
Barbara and Bruce Stevenson
John and Beryl Stimson
Mr. James L Stoddard
Robert and Shelly Stoler
Ellen M. Strand and Dennis C Regan
Mrs. William H. Stubbins
Dr. and Mrs. Samuel Stulberg
Donald and Barbara Sugerman
Richard and Diane Sullivan
Earl and Phyllis Swain
Rebecca Sweet and Roland Loup
John and Ida Swigart
Peg Talburtt and Jim Peggs
Jim and Sally Tamm
Larry and Roberta Tankanow
Jerry and Susan Tarpley
Frank and Carolyn Tarzia
Margi and Graham Teall
Leslie and Thomas Tentler
Catherine and Norman Thoburn
Bettc M. Thompson
Peggy Tieman
Mr. and Mrs. W. Paul Tippctt
Patricia and Terril Tompkins
Ron and Jackie Tonks
Dr. and Mrs. Merlin C. Townley
fim Toy
Angie and Bob Trinka
Sarah Trinkaus
Luke and Merling Tsai
Marlene C. Tulas
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Dolores J. Turner
William H. and Gerilyn K. Turner
Alvan and Katharine Uhle
Mr. and Mrs. Bryan D. Ungard
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Hugo and Karla Vandersypen
Bram and Lia van Leer
Fred and Carole S. Van Reesema
Yvette VanRiper
J. Kevin and Lisa Vasconi
Phyllis Vegtcr
Sy and Florence Veniar
Elizabeth Vetter
Martha Vicinus and Bea 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 Ptnzon Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Mr. and Mrs. Roy Weber
4 6 Advocates, continued
lack and Jerry Weidenbach
Carolyn ]. Weigle
Gcrane and Gabriel Weinreich
Lawrence A. Weis
Donna G. Weisman
Barbara Weiss
Carol Campbell Wclsch and
lohn Welsch
John and Joanne Werner Rosemary and David Wesenberg 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 Jan Z Winkelman 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. Zcpcda and Associates
Schwartz Family Foundation
Tfie Burton Tower Society is a very special group of University Musical Society friends. Tltesc people have included the University Musical Society in their estate planning. We are grateful for this important sup?port to continue the great traditions of the Society in the future.
Carol and Herb Amster Mr. Neil P.Anderson Catherine S. Arcure Mr. and Mrs. Pal E. Barondy Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Aiden 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
l.en 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
Alf 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
Deloitte & Touche
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 & Grill Regency Travel Republic Bank Sesi 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 Krezel, Sr. {Catherine Mabarak )osip Matovinovic Frederick C. Matthaei, Sr. Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powric
Steffi Reiss
Ralph L Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBdt
Francis Viola III
Peter Holderness Woods
Helen Ziegler
Bernard and Ricky Agranoff
Gregg Alf
MariAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcure
Bella l.i Vie
Kathleen Benton
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 feannine Buchanan Butzel Long Isabella Cedcrquist 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 Kerrytown Market & Shops King's Keyboard House Ed Klum U of M Golf Course Sam Knecht Bruce and Ronna Romney Kulp
Laky's Salon
Bern ice Lamey
Maxine Larrouy
Carole Lasser
Learning Express
Kathleen Letts
Letty's Ltd.
Doni Lystra
Stephanie Lord
Esther Martin
Mary Matthews
Elizabeth McLeary
feanne and Ernest Mcrlanti
Michigan Car Services, Inc.
Moc 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 Pooley
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 Skewcs
Herbert Sloan
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bengt and Elaine Swenson
Raymond Tantcr
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Andrea Van Houwcling
Eric Wapnick
Emil Weddige 8c 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
j71 f ' 71 f
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.
? $25,000 Soloist
For information about this special group, call the Development Office at 734.647.1175.
J $10,000 Maestro
? Opportunity to be a title or supporting sponsor for a selected performance in any series
Yourchoiceof complimentary Camerata dinners
Plus new benefits listed below
? $7,500 Virtuoso
Guest of UMS Board at a special thank-you event
Plus benefits listed below
J $5,000 Concertmaster
Opportunity to be a supporting sponsor for a selected Chamber Arts or Monogram series performance
Opportunity to meet an artist backstage as guest of UMS President
Plus benefits listed below
? $2,500 Leader
Opportunity to be a supporting sponsor for a selected Monogram series performance
Complimentary valet parking
Opportunity to purchase prime seats up to 48 hours before performance (subject to availability)
Reserved parking in Thayer Street parking lot
Plus benefits listed below
? $1,000 Principal
Free parking for UMS concerts
Invitation to two working rehearsals
Invitation to an "Insiders' Sneak Preview" party announcing next season's concerts before press announcement
Autographed artist memento
Priority subscription handling
Plus benefits listed below
J $500 Benefactor
Priority seating for individual Choral Union and Chamber Arts advance ticket purchases
Invitation to a preor post-performance reception
Invitation to one working rehearsal
Opportunity to attend selected events with artists
Plus new benefits listed below
? $250 Associate
Half-price tickets to selected performances
Plus benefits listed below
J S100 Advocate ? UMS Card providing discounts at local restaurants and shops
Listing in UMS Program
Plus benefits listed below
J $50 Friend
Comprehensive UMS calendar of events
Invitation to Camerata dinners
Advance notice of performances
Advance ticket sales
Subscription to Notes, the UMS Newsletter
Priority invitations to selected events
J $25 Youth
All benefits listed below:
Autographed artist memento
Priority seating at selected performances
Invitation to special event with artist
Invitation to one working rehearsal
Please check your desired giving level above and complete the form below.
Print names exactly as you wish them to appear in UMS listings.
Day Phone Eve. Phone
Comments or Questions_________________________________________________________________________________
Please make checks payable to University Musical Society
Gifts may be charged to: ? VISA ? MasterCard (for gifts of $50 or more)
Account tf______________ Expiration Date
Will your company match this gift Please enclose a matching gift form.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011

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