UMS Concert Program, Thursday Sep. 30 To Oct. 08: University Musical Society: 1999-2000 Fall - Thursday Sep. 30 To Oct. 08 --

Season: 1999-2000 Fall
University Of Michigan, Ann Arbor

UMS
University Musical Society
1999 FALL SEASON
University Musical Society of the University of Michigan, Ann Arbor
JMS
University Musical Society
1999 FALL SEASON of the University of Michigan, Ann Arbor
On the Cover
Clockwise from left Lyon Opera Ballet Ibrahim Ferrer Moby Dkk Arnold Schoenbcrg Deconstructed Berlin Wall
(CorbttBobKrid)
Back Cover
Frcdcrica von Stade
King Arthur detail uounnrof
Grnt Poformmcn l LiiHoln ( rnirr j
Neeme JSrvi
Ludwig van Beethoven
Bill Frisell
The Volga Vouty from The Harlem Nutcracker
& LI tletleoln tht Jrident
4 Letter from the Chair
5 Corporate LeadersFoundations 14 UMS Board of Directors
14 UMS Senate
15 UMS Staff
15 Advisory Comrnittees
IyI n "" (" T" 11 o
17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
21 http:jvww.ums.org
V2FI HjSi tiSry
25 UMS Choral Union
26 . Auditoria & Burton Memorial Tower
N291 lfciMofcuJMS Season 35 Education & Audience Development 37 Dining Experiences 37 BRAVO!
39 Restaurant & Lodging Packages 41 The UMS Preferred Restaurant Program
45 Advisory Committ
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
Support
UMS
Leadership
LETTER FROM THE PRESIDENT
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. UMS' 1999-2000 season is one of our best ever, and I hope I'll see you at some other performances. A complete listing of the season begins on page 29.
To be able to bring performances like this one to Ann Arbor takes a lot of people work?ing together as a team. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whose names are listed on pages 14-15.
It is the staff who works day in and day out to assure that you are able to see the world's best performing artists. I firmly believe that UMS has the finest staff of any performing arts presenting organization in the country. The programming staff works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year features over ninety performances. The production staff looks after the wellbeing of our artists and makes the performances look sharp and run smoothly. The education and audience development team, working with over fifty community partners, designs and manages more than 175 events to enhance the audiences' understanding and apprecia?tion of our artists and their work. People
learn about our programs through many different media thanks to the efforts of our marketing staff, which last season led UMS to an all-time record in ticket sales. Our box office staff has a well-deserved reputation of providing outstanding personalized service. The internal operation of UMS--finances, human resources, space, planning, etc.--are the purview of our skilled administrative team. And then there's the development team that each year raises 41 of our income, which is necessary to meet costs not covered by ticket sales. In the 1998-99 season, this figure was $2.3 million.
Speaking of development, this year UMS celebrates the tenth anniversary of Catherine Arcure's service as Director of Development. In these ten years, Cathy's department has always exceeded its annual fundraising goal and has nearly tripled the number of donors to UMS. Our overall financial health has
improved dramatically in the past decade, and Cathy's fundraising successes with indi?viduals as well as foundations, corporations, and government agencies have been key to this turnaround. Cathy has also been instru?mental in developing the Advisory Committee into an outstanding volunteer organization that raises over $200,000 a year for UMS through the Ford Honors Program, Season Opening Party, an annual auction, and other special projects. Then there is Cathy's personal commitment to serve each and every member of UMS.
Among Cathy's proudest achievements is BRAVO!, the 224-page cookbook which UMS unveiled on September 17. More than 100 volunteers, under the leadership of Mary Ann Daane and Anne Glendon, worked on this publication for over two years. What better way for Cathy to combine two of her loves, cooking and UMS, than to create a vehicle for people everywhere to enjoy the legends, lore, and recipes from 120 years of UMS -and for UMS to have a source of revenue for many years to come. For more information on BRAVO!, please see p. 37.
Thank you, Cathy, for your outstanding contribution to UMS and to our community.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concertgoing experience the best possi?ble. If we don't see each other in the lobby, please call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
LETTER FROM THE CHAI
@@@@It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing 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 asso?ciated 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 requirements are met by the private sector: very special individuals, organizations and companies that so generously help bring the magic to UMS performances 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 UMS are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
0
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port the arts in southeastern Michigan, especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merlanti President, Arbor TemporariesArbor TechnicalPersonnel System, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by sup?porting UMS, I am helping per?petuate the tradition of bringing outstanding musical talent to the community and also provid?ing education and enrichment for our young people."
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 enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President, BankOne, Michigan "BankOne, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to sup?port an organization that pro?vides such an important service to Ann Arbor." .
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port 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 for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, 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."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J.Yarabek Office Managing Partner, Deloitte & Touche "Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "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."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be part?ners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
Gregg A. DeMar Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their valu?able service to our community in support of students, children and families, and for enhancing their exposure to the arts."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
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."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community." mB'
Michael E. Korybalski President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
Charles Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port of the University Musical Society, which plays such an important role in the richness of our community."
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical Society. While we've only been in the Ann Arbor area for the past 85 years, and UMS has been here for 120, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Joe E. O'Neal President, O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
John Psarouthakis, Ph.D.
Chairman and Chief Executive Officer, Paideia
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Peter B. Coor, Ph.D. President, Parke-Davis Pharmaceutical Research & Development; Corporate Vice President, Warner-Lambert Company "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: Excellence, Diversity and Quality. Parke-Davis is proud to support the University Musical Society for our community and our Parke-Davis colleagues."
Michael Staebler
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Joseph Sesi President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delight?ed to sponsor such a fine organ?ization."
Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertainment."
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all con?cerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
We also extend our gratitude to several other anonymous companies.
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfman
Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February!, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community
Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America The Ford Foundation The Heartland Fund KMD Foundation Knight Foundation Lila Wallace-Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Letitia J. Byrd,
Vice-Chair Elizabeth Yhouse,
Secretary David Featherman,
Treasurer
Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo 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
Rossi Ray-Taylor Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms James J. Duderstadt
Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Manager
Box Office
Michael L. Gowing,
Manager
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
Catherine S. Arcure,
Director Susan D. Halloran,
Assistant Director--
Corporate Support Lisa Michiko Murray,
Advisory Liaison Alison Pereida,
Development Assistant J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director--
Individual Giving L. Gwen Tessier,
Administative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPublic Relations
Sara Billmann, Director Sara A. Miller, Marketing
and Promotion Manager Aubrey Alter, Marketing
and Advertising
Coordinator
Production
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Manager
Bruce Oshaben,
Assistant Head Usher Paul Jomantas, Assistant
Head Usher
Programming
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Nadine Balbeisi Rebekah Camm Mark Craig Mariela Flambury David Her Carrie Kahl Un Jung Kim Rebekah Nye Beverly Schneider Amy Tubman
Interns
Bree Doody Brooke McDaniel
President Emeritus
Gail W. Rector
ADVISORY COMMITTEE
Debbie Herbert, Chair
Dody Viola, Co-Chair
Lisa Murray, Staff Liaison
Martha Ause
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
Maryanna Graves
Linda Greene
Nina E. Hauser
Mercy Kasle
Steve Kasle
Maxine Larrouy
Beth Lavoie
Esther Martin
Jeanne Mcrlanti
Candice Mitchell
Robert Morris
lohn Mulcrone
Nancy Niehoff
Karen Koykka O'Neal
Marysia Ostafin
Mary Pittman
leva Rasmussen
Sue Schroeder
Meg Kennedy Shaw
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Al,ui.i Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Amy Goodman Taylor Jacobsen Callie Jefferson Lola Jones Deborah Katz Deb Kirkland
Rosalie Koenig David A. Leach Rebecca Logie Dan Long Laura Machida Ed Manning Glen Matis Barbara Meadows Kim Mobley Eunice Moore Rossi Ray-Taylor Gayle Richardson KatyRyan Karen Schulte Helen Siedel loan Singer Sue Sinta Sandy Trosien Sally Vandevcn Barbara Hertz Wallgren Jeanne Weinch
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
the performance begins. Parking is compli?mentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments
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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each venue.
TICKETS
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, Ml 48109-1011
on the University of Michigan campus
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat 10 a.m. to 1 p.m.
Order online at the UMS website:
http:www.ums.org
or
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance venue box offices open 90 minutes before each performance time.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including Wynton Marsalis and the Lincoln Center Jazz Orchestra, the Afro-Cuban All Stars, The Capitol Steps, Trinity Irish Dance Company, Kodo, and Alvin Ailey American Dance Theater.
This season UMS is offering a wide variety of events to please every taste, many at a frac?tion of the regular price. Imagine yourself surrounded by ten 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.
GIFT CERTIFICATES
ooking for that perfect meaningful gift .that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than ninety events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings,
birthdays, Hanukkah, Christmas, 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
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
WWW.UMS.ORG
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and artist information.
? Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance. ? Choral Union Audition informa?tion and perform?ance schedules for the UMS Choral Union.
Annals
UMS HISTORY
The goal of the University Musical Society (UMS) is 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, has placed UMS in a league of internationally-recognized perform?ing arts presenters. Indeed, Musical America selected UMS as one of the five most influen?tial arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for its rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the upcoming millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best traditional and contemporary work from the full spectrum of the performing arts -internationally renowned recitalists and
Musical America selected UMS as one of the five most influ?ential arts presenters in the United States in 1999.
orchestras, dance and chamber ensembles, jazz and world music performers, perform?ance artists, opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over ninety performances and more than 175 educational events each season. UMS has flourished with the support of a generous community that gathers to enjoy world-class events in Hill and Rackham Auditoria, the
Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
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 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six 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 Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, 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, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the 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).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union will again appear in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include per?formances of Shostakovitch's Symphony No. 13 (Babi Yar) followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers will join the Gabrieli Consort & Players for an Advent program based on the music of Praetorius. A highlight of the season will be a performance on Palm Sunday afternoon, April 16,2000, of J. S. Bach's
monumental St. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture 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, call 734.763.8997 or e-mail edeb@umich.edu.
AUDITORIA & BURTON MEMORIAL TOWER
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented 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 devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the 1,390-seat Power Center is more than seventy-two 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 Michigan Theater opened January 5,1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost approxi?mately $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade will be completed by 2003.
In the fall of 1999, the Michigan Theater will open the doors of a new 200-seat screen?ing room addition, as well as additional rest-room facilities, which have been built onto the existing 1928 structure.
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 on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started 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 ded?ication, 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 cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS 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 the?atre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to pres?ent song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and
an acoustical virtue to rival the world's great opera houses, the 2,800-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
A Full House
Hill
Auditorium
4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. 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-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
University Musical Society
of the University of Michigan 19992000 Fall Season
Event Program Book
Thursday, September 30 through Friday, October 8, 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 regu?lar, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this editon. Thank you for your help.
UMS Co-Commission
Laurie Anderson:
Songs and Stories from Moby Dick 3
Thursday, September 30, 8:00pm Friday, October 1, 8:00pm Saturday, October 2, 8:00pm Power Center
Detroit Symphony Orchestra 13
Neeme Jarvi, conductor Sergei Leiferkus, bass-baritone Estonian National Male Choir Men of the UMS Choral Union Sunday, October 3,4:00pm Hill Auditorium
Season Opening Dinner
Andrea Marcovicci Sunday, October 3, 6:30pm Michigan League Ballroom
Amalia Hernandez'
Ballet Folklorico de Mexico 27
Tuesday, October 5, 8:00pm Wednesday, October 6, 7:00pm Power Center
Paco Pena and Inti-lllimani 35
Friday, October 8, 8:00pm Michigan Theater
1999-2000 Dance Series
Women of Dance Dance-Theatre Music-Theatre
UMS Co-Commission
Laurie Anderson
Songs and Stories from Moby Dick
Thursday, September 30, 8 p.m. Friday, October 1,8 p.m. Saturday, October 2, 8 p.m.
Lyons Opera Ballet
Mats Ek's Carmen
Saturday, October 16, 8 p.m. Sunday, October 17, 2 p.m.
Bebe Miller Company Going to the Wall
Saturday, January 15, 8 p.m.
Meredith Monk
Magic Frequencies: A Science Fiction Chamber Opera Wednesday, February 9, 8 p.m.
UMS Co-Commission Martha Clarke
Vers la flam me Friday, February 11,8 p.m.
Trisha Brown Company
Tuesday, April 11,8 p.m.
All performances at the Power Center.
This performance includes nudity and adult situations.
Call UMS at 734.764.2538 for more information.
The 1999-2000 Dance Series celebrates the women of today's modern dance and dance-theatre. In addition, it celebrates the spirit of innovation and exploration these women embody as they continue to break down
labels and barri?ers into music-theatre, and that wonderfully label-less, late-twentieth-cen-
tury genre: the interdisciplinary work.
If ever there were an art form that has been dominated by women, it is modern dance. Pioneering individuals in the first half of this century such as Isadora Duncan, Martha Graham, Ruth St. Denis, Pearl Primus, Doris Humphrey, Katherine Dunham and Mary Wigman changed the perception of the dancer's female body from an idealized ballerina performing chore?ography by men into an expressive, liberated individual with her own sto?ries to tell. These and many other women dancers and choreographers have had a profound impact on dance in this century, and on the larger world of dance-theatre.
At UMS, 1999-2000 showcases contemporary women who have inherited this creative legacy of expression from their artistic "moth?ers." Some works are "pure" dance while others celebrate the boundless blurring of genres, merging movement and storytelling with theatre and vocal, chamber and electronic music, producing living works of art that
speak to the audience through multi?ple artistic voices. With the exception of the Lyon Opera Ballet, each project has a visionary woman at the helm, a woman whose work exhibits the diver?sity and breadth of contemporary women's artistic expression.
So why does Laurie Anderson open the "dance" season
To many, Laurie Anderon's work and career embody the spirit of those women who first trailblazed their way onto modern dance stages. While "labeled" a performance artist, she has consistently engaged her audiences in new ways of thinking about what music and music-theatre can be. Laurie Anderson continues to intrigue, entertain and challenge us with her multi-media presentations. Her artis?tic career has cast her in roles as vari?ous as visual artist, composer, poet, photographer, filmmaker, ventrilo?quist, electronics whiz, vocalist and instrumentalist. She leads us with her pathbreaking use of technology and her untiring exploration of new cre?ative tools. In other words, she shows us the future.
For her, a "label" will never do... and thus, she is a potent inspiration to a whole series devoted to women in dance, dance-theatre and music-theatre.
UMS
presents
Laurie Anderson
Songs and Stories from Moby Dick
Laurie Anderson, Visual Design, Music, and Lyrics
Performed by Laurie Anderson, Tom Nelis, Anthony Turner, Skiili Sverrisson, and Price Waldman
Artistic Collaborators
Christopher Kondek, Co-Visual Design '.
Miles Green, Sound Design
Michael Chybowski, Lighting Design
James Schuette, Co-Set Design
Julie Crosby, General Management Bohdan Bushell, Production Management Lisa Porter, Production Stage Management
Susan Hilferty, Costume Design 3ob Bielecki, Electronics Design Ben Rubin, Video Systems Design nne Bogart, Staging Co-Direction
Program
Thursday Evening, September 30,1999 at 8:00 Friday Evening, October 1, 1999 at 8:00 Saturday Evening, October 2,1999 at 8:00 Power Center, Ann Arbor, Michigan
Following Friday mid Saturday's performances, there will be a brief Meet the Artists question and answer session hosted from the stage.
First, Second and Third Performances of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this program is provided by media sponsors, WDET and Metro Times.
Songs and Stories from Moby Dick is a production of the electronic theater com?pany, Inc. with generous assistance from Love Stream Productions, agnes b., Paris.
Additional support provided by a grant from the Bohen Foundation.
Special thanks to Professor Stephen Rush for serving as Master of Arts interviewer and to Linda Kendall for hosting the video screening. Thanks to the Institute for Research on Women and Gender, Center for Education of Women, U-M Museum of Art, and the School of Art and Architecture for collaboration with this residency.
Songs and Stories from Moby Dick is Co-Commissioned and Presented by:
Brooklyn Academy of Music, Brooklyn, NY
CalPerformances, Berkeley, CA
Festival d'Automne a ParisMC 93 Bobigny, Paris, France
Prince Music Theater, Philadelphia, PA
Spoleto Festival USA, Charleston, SC
UCLA Center for the Performing Arts, Los Angeles, CA
University Musical Society, University of Michigan, Ann Arbor, MI
Large print programs are available upon request.
Performers
Laurie Anderson Tom Nelis Price Waldman Anthony Turner Miles Green
Pip, the Whale, a Reader
Ahab, Noah, Explorer
The Cook, Second Mate, Running Man
Standing Man
Special vocal appearance as Falling Man
Musicians
Laurie Anderson Skiili Sverrisson
Violin, keyboards, guitar, Talking Stick Bass, prepared bass, samples
Production Touring Staff
Michael Smallman
Jody Elff
Paul Strong
Daniel Hartnett
Erik Bruce
Chad Scheer
Ryan Bronz
Octavio Warnock-Graham
Production Electrician Front of House Audio Engineer Production Carpenter Visual Systems Operator Lighting Director Sound System Engineer Projectionist Assistant Electrician
Songs and Stories from Moby Dick
by Laurie Anderson
I began to work on this project because a multimedia producer was making a series for high school kids about books. He was worried that books are disappearing and he wanted to do something that would get kids interested in reading. So he asked several artists to pick their favorite books and write monologues about why they liked them.
I chose Moby Dick. Although pieces of Melville's text have cropped up in some of my songs and films over the years, I hadn't really read the whole book since high school. And I was a bit nervous. I had a vague recollection of being very bored by a lot of the whaling details and technical paraphernalia. I also remember thinking that the captain and his obsession with the whale was a bit over the top, too fantastic, too Shakespearean.
Then I read it again. And it was a com?plete revelation. Encyclopedic in scope, the book moved through ideas about history, philosophy, science, religion and the natural world towards Melville's complex and dark conclusions about the meaning of life, fear and obsession. Being a somewhat dark per?son myself, I fell in love with the idea that the mysterious thing you look for your whole life will eventually eat you alive.
The project for high school kids never materialized but I read Moby Dick five more times in a row. I began to hear it as music. The rambling, rolling sentences, the lapses into iambic pentameter, the lyrical poems all mixed with the 'thee's' and 'thou's' of anoth?er time. And the stories On one level, Moby Dick is a magnificent collection of essays and short stories about the night sky, the behavior of polar bears, theories about the origin of the universe, all entwined with
countless bits of information about rope and weather and oars and the many objects of a lost nineteenth-century world.
Call Me Whatever
Moby Dick is also a tour deforce in narrative style. With most books, it takes a few chap?ters to identify the author's voice. For me, the first three words ("Call me Ishmael") are among the strangest in the book. As the book unfolds, it becomes virtually impossi?ble to find the author. He's hundreds of people: accountant, botanist, lawyer, philosopher, dreamer, preacher, historian. These narrative styles and forms of address morph rapidly. And it's this daring approach to narrative voices that I've found most exciting and original about the book. Imagistic, concise and associative, Melville built his world and inhabited it with a cast of the living and the dead. Spinoza, Noah, Job and Jonah sailed on the doomed Pequod just as much as Ahab, Ishmael, Pip, Queequeg and the crazy cook.
Is Moby Dick a Tragedy
Of course, from page one we know the ship will go down. Everything relentlessly moves to that vanishing point. But for me the Pequod is more like the Mayflower than the Titanic. When the Titanic sinks it's spectacu?lar, it sinks expensive technology, money, power and savoir faire. It's a perversely satis?fying experience, like blowing up the White House in Independence Day. But when the Pequod sinks, it takes a whole universe down with it while somehow building a new one.
So what does Melville have to say to late twentieth-century Americans Obsessive, technological, voluble and in search of the transcendent, we're a lot like our nine?teenth-century forbears. Melville's search for meaning is alternately frustrating and illu?minating, multilayered and elusive, like the great white whale he searches for. For me, a
key question is asked, almost as an after?thought, at the end of Father Mapple's famous sermon, "So what is a man if he outlives the lifetime of his God" Yes, really. What do you do when you no longer believe in the things that have driven you How do you go on
Translation and Invention
Translating a complex and classic literary text into a multimedia production is a com?pletely new kind of project for me. I've attended enough meetings of the Melville Society and read enough issues of the newsletter over the years to know that what?ever I did with the book would inevitably have many gaps. Eventually I decided not to try to represent the characters but to try to catch the spirit of the book and some of
I fell in love with the idea that the mysterious thing you look for your whole life will eventually eat you alive."
Melville's ideas that I find the most chal?lenging.
Visually, I've tried to create several lev?els for the action by making a set where characters can emerge and then be reab-sorbed into a more abstract place, a device I've used in pieces like The Nerve Bible. The images themselves -words, water, paper, flowing textures, gritty machine fire and constellations -are meant not so much to conjure a place as to create a parallel dream world as well as to provide visual counter?point to the sound.
As for characters, the performers in Songs and Stories... shift through many roles and voices; sometimes they're readers,
sometimes sailors, sometimes commentators or critics. Of course there is no way to tell the whole story in an evening. My goal is to translate some of my favorite parts of the book into music and images that suggest the flavor and strangeness and beauty of Melville's world. And finally to make a world of my own where ideas and obses?sions take a new sensual form.
So how much of this show is actually Melville's text
According to my very fast computer, approximately ten percent. Sometimes I picked my favorite passages and left them alone. ("Seat thyself sultanically among the moons of Saturn...") Other times I used only an idea or phrase to build a song. ("Because in all men there reside certain
properties, occult and wondrous
and hidden.") Other times, in the spirit of Melville's digressions, I just invented things and added whatever I felt like adding. In writing lyrics and words that would be singable and sayable, I've used several methods to shorten the words and make them resonate when spoken
aloud. In addition to the discursive quality of the text, much of Melville's language rings very differently for us than for his con?temporaries who knew their Bibles better. When Melville wrote "Consider the subtle?ness of the sea...and how its most dreaded creatures glide underwater carrying on eter?nal warfare since the world began," this no doubt alerted his readers that he was mak?ing a dark rhyme with "Consider the lilies of the field..." from the Sermon on the Mount, a message that expressed the polar opposite meaning, God not as benevolent provider but as prolific inventor of malevolent crea?tures.
The World of Sound
To start with, obviously Melville was unaware that whales can talk and sing. He compared them to the "tongueless croco?diles of the Nile" and most of his descrip?tions of them are visual or spiritual. In fact Moby Dick is a curiously silent book. For every description of sound there are hun?dreds of visual descriptions. Instead, the music is all in the words and the way they riff and trip, skip and lumber. The only actual instrument is a lone tambourine.
I once wrote to Thomas Pynchon and asked for his permission to write an opera based on Gravity's Rainbow. I didn't really expect an answer from this famously silent man. However, a few weeks later a letter arrived. He graciously complimented me on my idea and said of course I could do it; his only condition was that the whole opera be scored for solo banjo. Some people have the nicest way of saying no.
Musically I've tried to include many of the natural sounds of Melville's world, the clicking patterns of the sperm whale's lan?guage, the creaks and groans of a ship, wild winds. Many of the basic tracks were recorded with a small ensemble of musi?cians -Joey Baron on drums, Skiili Sverrisson on bass and sampled sounds, myself on keyboards and samples, with additional touches from Peter Scherer and Bill Frisell. These sounds were heavily processed with digital niters. The live string instruments that join these mixes violin, bass, charango and guitar -are processed in similar ways. As usual, many of the live vocals are also run through niters.
The Talking Stick
The Talking Stick is a new instrument that I designed in collaboration with a team from Interval Research and Bob Bielecki. It is a wireless instrument that can access and replicate any sound. It works on the princi-
pie of granular synthesis. This is the tech?nique of breaking sound into tiny segments, called grains, and then playing them back in different ways. The computer rearranges the sound fragments into continuous strings or random clusters which are played back in overlapping sequences to create new tex?tures. The grains are very short, a few hun-dredths of a second. Granular synthesis can sound smooth or choppy depending on the size of the grain and the rate at which they're played. The grains are like film frames. If you slow them down enough you begin to hear them separately.
Many of the voices in Moby Dick are phantom-like. The Talking Stick is a physical representation of the disembodied voice as well as an extremely physical, digital descen?dant of turntables.
Melville's Bible
When I told a friend I was working on a project based on Moby Dick he just about went crazy. He said, "Moby DickV. Moby Dick7." He said he had something for me and a few days later he brought over a big box. Inside was Melville's Bible, which Melville bought just before he began writing Moby Dick. It was filled with pencil notes and markings, many of which his wife had apparently erased (their relationship being far from idyllic).
My friend, who had gotten the Bible at Sotheby's, had checked through the Morgan Library and their contacts with the FBI, to see if it would be possible to reconstruct the passages that had been erased. The consen?sus was that this would have been possible if the marks had been erased thirty years ago, but not a hundred and fifty. So I went combing through the Bible with a magnify?ing glass, looking for little marks, signs, any?thing that might have something to do with a whale.
And then I found it. Isaiah 27:1. "In that day the Lord with his sore and great
and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the drag?on that is in the sea." Next to this verse was a check mark and a long squiggle. And I thought, 'That's it! The whale is his snake and the ocean is his garden, the place where he works out good and evil.'
Songs and Stories from Moby Dick is in the end a kind of palimpsest, a piece of paper that is constantly being erased reinter?preted and re-shaped through many differ?ent lenses and filters. It has been a fascinat?ing frustrating and wild journey for me, try?ing first to understand the book and then to bring it to life in a new way. Melville dedi?cated Moby Dick to his friend Nathaniel Hawthorne whose approval he sought throughout the writing of the book. Disappointed by Hawthorne's reaction, Melville dedicated his next book to a moun?tain. Songs and Stories from Moby Dick is dedicated to Herman Melville and to his search for the unknowable.
Special thanks to Bill T. Jones for his ideas on movement; Clifford Ross for the loan of Melville's Bible; Rande Brown for her tireless and inventive input; Michael Morris for his continued support; Jeff Halpern, Benny Diggs and Steve Lutvakfor vocal coaching; Arto Lindsay, Tomand Andy, and Greg Cohen for musical input; Lou Reed for his guidance, forbearance and love.
Laurie Anderson, one of the pre?miere performance artists in the world, has consistently intrigued, entertained and challenged audi?ences with her multimedia pre?sentations. Anderson's artistic career has cast her in roles as various as visual artist, composer, poet, photographer, filmmaker, ventriloquist, electronics whiz, vocalist and instrumentalist.
Laurie Anderson's "O Superman" launched her recording career, rising to number two on the British pop charts and subsequently appearing on Big Science, the
first of seven albums for Warner Bros., including Mister Heartbreak, United States Live, Strange Angels, Bright Red, and the soundtrack to the feature film Home of the Brave. Laurie is currently recording her first release for Nonesuch Records, Songs and Stories from Moby Dick, while her award winning CD-ROM Puppet Motel has just been re-released by Voyager.
Ms. Anderson has toured the US and the world numerous times with shows rang?ing from simple spoken word performances to elaborate multimedia events. Prior to the current production of Songs and Stories from Moby Dick, she toured the world with both her one person show The Speed of Darkness and her major multimedia stage production The Nerve Bible.
Ms. Anderson's work as a visual artist was most recently on view in June 1998 in her major installation Dal Vivo at the Prada Gallery in Milan. Her work has also been exhibited at the Guggenheim Museum in Soho as well as in Europe. Abrams will pub?lish the first major career retrospective of Ms. Anderson's work in a volume that will be released in early 2000. The Sean Kelly Gallery, New York, represents Ms. Anderson's visual artwork.
Ms. Anderson has created numerous videos and films, and has contributed music to films by Wim Wenders and Jonathan Demme and dance pieces by Bill T. Jones, Trisha Brown, Molissa Fenley and others. She has created pieces for National Public Radio, The BBC and Expo '92 in Seville. In 1997 she curated the two-week Meltdown festival at Royal Festival Hall in London. Dennis Russell Davies and the American Composers Orchestra recently commis?sioned Ms. Anderson to write an original musical work for Orchestra. The piece, which is based on the life of Amelia Earhart, will have its world premiere at Carnegie Hall in February 2000.
Recognized worldwide as a leader in the pathbreaking use of technology in the arts, Ms. Anderson is currently working with Interval Research Corporation, a research and development laboratory founded by Paul Allen and David Liddle, in the explo?ration of new creative tools, including the Talking Sticks seen and heard in this perfor?mance.
These performances of Songs and Stories from Moby Dick represent the debut perfor?mances of Laurie Anderson under UMS aus?pices.
Bob Bieledd (Electronics Design) is known for his engineering, recording, and sound design contributions to the works of a long list of innovative artists in music, perfor?mance, and theatre. His work with Laurie Anderson dates from the mid-1970s. Presently, he is working with binaural sound imaging and processing with application to virtual reality systems.
Anne Bogart (Staging Co-Direction) is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a recipient of two OBIEs and a Bessie Award, and she is an associate professor at Columbia University. Recent works with SITI include: Culture of Desire, Small LivesBig Dreams, The Medium, Private Lives, Miss Julie, and Orestes. Other recent productions include Seven Deadly Sins for New York City Opera; Marathon Dancing and Another Person is a Foreign Country for EnGarde Arts; Escape from Paradise and The Baltimore Waltz with Circle Rep; In the Jungle of Cities for NY Shakespeare Festival; as well as works for Hartford Stage, San Diego Rep, Actors Theater of Louisville, Ontological-Hysteric, Houston's Alley Theater, The Wexner Center, and the Humana Festival of New American Plays.
Bohdan Bushell {Production Management) is on his second tour with Laurie Anderson. The Nerve Bible began a string of projects including dancing in the moonlight in her wigwam hair at the Guggenheim SoHo and in London, Dal Vivo in Milan, Whirlwind in Berlin, and her most recent show at Artists Space. Other work includes off-Broadway's Blue Man Group's Tubes and The Good Times Are Killing Me, as well as four seasons with Second Stage Theater.
Michael Chybowski (Lighting Design) won the 1999 OBIE Award for Wit. Other recent designs include Cymbeline and Henry VIII for NY Shakespeare Festival, A Midsummer Night's Dream at Trinity Rep, and The Bacchae, Taming of the Shrew, A Jungle of Cities, and The Wild Duck at American Repertory Theatre, Cambridge, where he was the resident designer for the 1997-98 season. Other recent work includes The Grey Zone (Lucille Lortel Award for best off-Broadway lighting design), A Question of Mercy at in its premiere at NY Theatre Workshop, and Bach's Falling Down Stairs, a collaboration between Mark Morris and Yo-Yo Ma that was performed in New York and on PBS.
Julie Crosby (General Management) has managed theatre productions on Broadway and in Europe, including the Royal Shakespeare Company's Carrie, Black & Blue, Tango Pasion, Andre Heller's Wonderhouse, and the NY Shakespeare Festival's On The Town. Previously, Ms. Crosby was Associate Producer for the Robert Altman film of Black & Blue, a nego?tiator for Actors' Equity Association, and a fundraising consultant for the Joffrey Ballet School. A President's Fellow at Columbia University, she is presently completing her doctorate in medieval literature.
Miles Green (PerformerSound Design) has worked with Laurie Anderson for ten years. He also has worked as a composer and sound designer for AT&T's Interactive Television trials, and for the CD-ROM pro?jections of IBM, Sony, MCI, Sotheby's, and The Smithsonian. He has engineered recordings for Philip Glass, John Cale, and David Byrne, and composed, scored and designed sound for numerous productions, including work for Robert Woodruff, David Gordon, Mabou Mines, and William Pomerantz. Mr. Green is also a singersong?writer whose work can be heard at www.milesgreen.com.
Christopher Kondek (Co-Visual Design) has been designing video for theater for the last ten years. His credit include Brace Up!, The Emperor Jones, and Fish Story for The Wooster Group, Robert Wilson's DDD III: The Days Before, and Laurie Anderson's The Nerve Bible. He is presently living in Berlin and working on a new opera by composer Michael Nyman.
Tom Nelis' (Performer) recent NYC credits include Oscar Wilde in Gross Indecency: The Three Trials of Oscar Wilde, Richard Foreman's Pearls for Pigs, the title role in Henry VI (NY Shakespeare Festival), and Hot Mouth at the Manhattan Theater Club. He was awarded an OBIE for his portrayal of Marshal McLuhan in The Medium by Anne Bogart's SITI Company. A founding member of SITI, he is also in the a cappella ensemble Hot Mouth. He has toured the world with directors Anne Bogart, Tadashi Suzuki, Richard Foreman, and now, happily, Laurie Anderson. Mr. Nelis received his MFA from the University of California at San Diego.
Lisa Porter (Production Stage Management) has stage managed for Hal Hartley's Soon (Salzburg and Antwerp), Richard Foreman's
Pearls for Pigs (off-Broadway and interna?tional tour), Venus (NY Shakespeare Festival and Yale Rep), Ong Keng Sen's Workhorse Afloat (Singapore), and Robert Wilson's Hamlet: A Monologue (Paris). Other credits include work at the Old Globe Theatre, Playwrights Horizons, and the Berkshire Theatre Festival.
Ben Rubin (Video Systems Design) is a video and sound artist whose work has been seen in New York at the Whitney MuseumPhilip Morris, Ricco Marresca Gallery, Creative Time's Brooklyn Bridge Anchorage Exhibition, at Calgary's Nickel Arts Museum, and at Japan's Hakone Open Air Museum. He teaches in NYU's Interactive Telecommunications Program, and he has been awarded artistic residencies at the Banff Centre for the Arts in Canada and at the STEIM Foundation in Holland. In 1989, Mr. Rubin received his Master of Science degree in Visual Studies at MIT.
James Schuette (Co-Set Design) has worked with Anne Bogart and SITI on Bob, Culture of Desire, Alice Underground, The Adding Machine, and Private Lives; and with Tina Landau on Space & Time to Burn, States of Independence, Stonewall, Orestes, Trojan Women: A Love Story, and Saturn Returns. Other work includes The Treatement, Chang Fragments and Insurrection: Holding History at The Public Theater; Lypsinka!, A Day in the Life, The Secretaries, and Quills for NY Theatre Workshop, Seven Deadly Sins for NY City Opera,; Transatlantic for Minnesota Opera; The Outcast at Brooklyn Academy of Music; Berlin Circle at Steppenwolf, and Floyd Collins at the Old Globe, The Prince Theater (Philadelphia), and The Goodman. He is a graduate of the Yale School of Drama.
Skuli Sverrisson (Bass, prepared bass, sam?ples) was born in Reykjavik, Iceland, and has since performed around the world. His
work in experimental and improvised music spans over fifteen years and over fifty recordings. Mr. Sverrisson's group Pachora recently released their second compact disc, Unn, on Knitting Factory Works. Other releases include Mr. Sverrisson's solo work Seremonie on Extreme Music, and his duos Desist with Anthony Burr and Kjar with Hilmar Jensson. Mr. Sverrisson is currently working with Laurie Anderson on the recording of Songs and Stories from Moby Dick for Nonesuch.
Anthony Turner {Performer) enjoys success in a variety of musical areas. He was pre?sented in recital in the inaugural concert at the American Classical Music Hall of Fame in Cincinnati. In 1997 he traveled to Helsinki for the first recording in English of songs by Finnish composer Heikki Sarmanto. In 1996 Mr. Turner was the fea?tured soloist with Jessye Norman in a bene?fit concert for AIDS in New York City. In demand as a solo recitalist, his programs include works by Bach, Brahms, Respighi, Duparc, and the African-American com?posers Edward Boatner, Margaret Bonds, Mark Fax, and John Work.
Price Waldman (Performer) has been seen regionally in Richard III and A Christmas Carol (Great Lakes Theatre Festival), Romeo and Juliet (Portland Stage), Into the Woods (Pioneer Theatre Company), Esmeralda (St. Louis Repertory), and Sweeney Todd (Goodspeed). His off-Broadway credits include The Jungle Book, The Wind in the Willows, and works with the HartsHorn Theatre Company and York Theatre Company. He is a graduate of Oberlin College and Conservatory, and the Professional Theatre Training Program at the University of Delaware. His earliest experience with Melville was as a member of the children's chorus of Billy Budd at the Metropolitan Opera.
Phantom Band Laurie Anderson
Vocals, keyboards, various instruments,
digital processing Joey Baron
Percussion Charlie Giordano
Accordion Skiili SviTii-Mm
Bass, sampler
Additional pre-recorded tracks co-pro?duced with Greg Cohen and engineered by Dante DeSole. Additional pre-recorded vocals by Tom Nelis and Price Waldman.
Sound System provided by EAW.
Visuals Christopher Kondck
Animation and principal
photography Laurie Anderson
Water photography and additional
animation
Interval Research Talking Stick Development Team Bob Adams, Jesse Dorogusker, Dominic Robson, Geoff Smith
Production Staff Randc Brown
Dramaturgy Guy Lesser
Dramaturgy Laura (osephcr
Assistant Direction Maya Saffrin, David Neumann
Movement Coaching Linda Ross
Costume Supervision Rachel Hauck
Assistant Set Design Philip Widmer
Assistant Light Design Lara Bohon
Assistant Light Design Linda Greenberg
Tour Consultant Robert Bernstein
Accountant Nancy Magarill
Office Manager Philippe Mongay
European Booking Consultant
With special thanks to Larry R. Larson, Robin Danar, Norcnc Maciwoda, and the generous support of Interval Research Corporation.
Sample of Allen Ginsberg reading from his poem "America" from Holy Roll, Jelly Roll, Rhino Records, 1994.
Visit Laurie Anderson on the Internet at www.laurieanderson.com.
UMS Advisory Committee and Bank One
present
Andrea Marcovicci
with
Glenn Mehrbach,piano
Sunday Evening, October 3, 1999 at 6:30 Michigan League Ballroom Ann Arbor, Michigan
Season Opening Dinner
I'll Be Seeing You:
Love Songs of World War II
Andrea Marcovicci will announce her selections from the stage.
Special thanks to Jorge Solis and Bank One, Michigan for their sponsorship of this event.
Andrea Marcovicci, "torch singer, spellbinder, heartbreaker" {People), was hailed as the "most Sinatra-like" of the new generation of cabaret performers by Life magazine. "The most throbbingly irresistible voice in cabaret" enthused New York magazine, while Stephen Holden wrote in The New York Times, "Andrea Marcovicci has an incandescent enthusiasm and a masterly balance between poignancy and wit."
Andrea Marcovicci began her career in the entertainment world in 1971 as an actress on the daytime television series Love is a Many Splendored Thing. She made her Broadway debut with Howard Kell in Ambassador, the musical adapta?tion of the novel by Henry James. Ms. Marcovicci received rave reviews for her performances in the leading roles of the American Conservatory Theater produc?tions of St. Joan (1989), Burn This (1990) and Cat on a Hot Tin Roof (1991), break?ing every existing attendance record for A.C.T. She also appeared as Carmen in Frank D. Gilroy's play Any Given Day, which had its world premiere at Longacre Theater in 1993. Most recently, she starred in the Reprise! production of Finian's Rainbow in Los Angeles.
Ms. Marcovicci pursues an active cabaret and concert schedule to the delight of loyal audiences throughout the country. She made her San Francisco Pops debut before an audience of 5,000 in the summer of 1991 and followed that up with an appearance the next summer. In November 1993, Ms. Marcovicci made her Carnegie Hall solo debut with the American Symphony Orchestra before a sold-out audience. In February 1995 she appeared again with the American Symphony in her one-woman show "I'll Be Seeing You:
Love Songs of World War II" at Lincoln Center's Avery Fisher Hall. The orchestra was under the direction of Ms. Marcovicci's longtime musical director, Glenn Mehrbach. She has been a guest artist with orchestras in Minneapolis, Chicago, Milwaukee, Ft. Worth, Naples, San Jose, Santa Rosa and Costa Mesa, and made her Australian debut at the Melbourne Arts Festival in October 1998.
Andrea Marcovicci has performed at the White House and, in recognition of her accomplishments in the arts, received an honorary doctorate from Trinity College in Hartford, Connecticut. She debuted "Some Other Time," a celebra?tion of the songs of Mabel Mercer, at the Oak Room of New York's legendary Algonquin Hotel in the fall of 1997. This engagement marked Ms. Marcovicci's tenth anniversary at the Algonquin. For her eleventh season she performed an evening of Noel Coward, which was commissioned by the New York
Philharmonic and given its debut at Lincoln Center in April 1998.
She makes her home in Los Angeles with her husband, actor Daniel Reichert, and daughter, Alice.
Tonight's performance marks Andrea Marcovicci's debut under VMS auspices.
Glenn Mehrbach wrote the book, music and lyrics for Four Love (Theatre of N.O.T.E.), A Musical Therapy, Portraits and Cabaret Godot (Theatre West), music and lyrics for Bum's Rush (Theatre of N.O.T.E.), and co-com?posed the scores to The Magic Prison: Emily Dickinson in Words and Music (Theatre West) and Yearbook: The High School Musical (published by Dramatic Publishing).
As conductor and arranger for Andrea Marcovicci, Mr. Mehrbach has appeared on the Tonight Show, at Camegie Hall and Town Hall in New York City, and is represented as a composer on her albums New Words and What Is Love. With Ms. Marcovicci, he has arranged for and conducted major symphony orches?tras, and has produced andor arranged each of Andrea's nine CDs.
Mr. Mehrbach's compositions have been heard at Symphony Space and Carnegie Hall. His songs have been sung by Andrea Marcovicci, Barbara Fasano, Marilyn Volpe, Michael Bonnabel, The Toronto Gay Men's Chorus and many others throughout the country. He is a member of ASCAP, by whom he has been granted awards for his work in musical theatre and cabaret.
Tonight's performance marks Glenn Mehrbach's debut under UMS auspices.
UMS 1999 Season Opening Dinner Committee
Sara Frank, Co-Chair
leva Uasmussen, Co-Chair
Loretta Skewes, Decorations
Lisa Murray, Staff Liaison
Catherine Arcure, Director of Development
Kenneth C. Fischer, UMS President
1999 UMS Advisory Committee
Debbie Herbert, Chair
Dody Viola, Co-Chair
Don Faber, SecretaryTreasurer
Lisa Murray, Staff Liaison
Martha Ause
Letitia Byrd
Betty Byrne
Phil Cole Mary Ann Daane Lori Director Betty Edman Mike Endres Penny Fischer
Sara Frank
Maryanna Graves
Linda Greene
Nina E. Hauser
Mercy Kasle
Steve Kasle
Maxine Larrouy
Beth Lavoie
Esther Martin
Jeanne Merlanti
Candice Mitchell
Robert Morris
John Mulcrone
Nancy Niehoff
Karen Koykka O'Neal
Marysia Ostafin
Mary Pittman
leva Rasmussen
Sue Schroeder
Meg Kennedy Shaw
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
Our heartfelt thanks go to the following people: Jorge Solis, Bank One, Michigan
Mike Clarren, Access Productions
Sue Kerry, Michigan League
Gus Malmgren
Patrick Powers
Tom Thompson Flowers
UMS
and
Bank One,
Michigan
present
Detroit Symphony Orchestra
Neeme Jarvi, conductor
Sergei Leiferkus, bass-baritone Estonian National Male Choir Men of the UMS Choral Union
Program
Villem Kapp Edvard Grieg
Dmitri Shostakovich
Sunday Afternoon, October 3,1999 at 4:00 Hill Auditorium, Ann Arbor, Michigan
Nordic Coast
Holberg Suite, Op. 40 (Aus Holbergs Zeit) Prelude Sarabande Gavotte-Musette Air Rigaudon
INTERMISSION
Symphony No. 13, Op. 113 (Babi Yar)
Babi Yar (Adagio Piu mosso Adagio Allegretto Adagio)
Humour (Allegretto)
In the Store (Adagio -attacca:)
Fears (Largo Moderate Largo Allegro Largo attacca:)
A Career (Allegretto)
Fourth Performance of the 121st Season
121st Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank One, Michigan.
Special thanks to Jorge Solis of Bank One for his generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE.
Large print programs are available upon request.
Nordic Coast
Villem Kapp
Born September 7, 1913 in Suure-Jaani,
Estonia Died March 24, 1964 in Tallinn, Estonia
Villem Kapp's Nordic Coast dates from 1958. The score calls for men's chorus and an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, snare drum, cymbals, bass drum, harp, and strings.
Villem Kapp was part of a musical dynasty in his native Estonia, one that began with his uncle Artur Kapp and included his cousin Eugen Kapp, perhaps the most noted of the family outside their native land.
Villem studied first with his uncle, then went on to the Tallinn Conservatory, taking a professorship after he graduated in 1944, and remained in that post the rest of his life. He wrote in a variety of genres, including two symphonies, four cantatas (of which Nordic Coast is one), music for piano and for various chamber ensembles. His opera Lembitu, which recounts the tale of a medieval Estonian hero, brought him the widest acclaim.
The theme of that opera runs parallel to that of Nordic Coast, though the meaning of the latter is cloaked in metaphorical words. For centuries, Estonia has been a land at the crossroads, overrun at various times by Germans, Swedes, and Russians. In Kapp's own time, he saw his country whip-sawed between Nazi and Soviet armies; he did not live long enough to see Estonia return to an independent republic.
The poetry, by Kersti Merilaas, dwells on the theme of water pounding against rock: "The waves vent all their fury, but the rock stays fast." To set these evocative words, Kapp employs a full-blooded, urgent style, not modern in any significant sense, but apt
to its subject. With Estonia then firmly under the Soviet thumb, an overt expression of independence might have been denied performance, while Kapp's more guarded assertions carried his message just as surely to those inclined to listen.
Holberg Suite, Op. 40
(Aus Holberg's Zeit)
Edvard Hagerup Grieg
Bom June 15, 1843 in Bergen, Norway
Died September 4, 1907 in Bergen
Edvard Grieg wrote the first version of his Holberg Suite for piano, in the summer of 1884. He arranged it for strings later that year, and conducted the first performance in Bergen, on March 13, 1885.
Ludvig Holberg was a seventeenth-cen?tury Norwegian playwright. While his repu?tation never carried far beyond his native country, he was always revered there, and in December 1884, his hometown of Bergen set out to honor the 200th anniversary of his birth with the building of a statue and a concert.
Grieg, a native of the same town and Norway's most prominent composer, was a natural choice to compose the music for a cantata. He was loathe to write for such ceremonial occasions, and he grumbled about the cantata while he was at work on it, and put it aside after conducting the first performance. He refused to give it an opus number or to include it in the list of his works.
Much more to his liking was an unoffi?cial piece he wrote at the same time, a piano suite that mimicked the forms of the Baroque period. It is not quite certain that he wrote the piano version first and soon after arranged it for string orchestra. In any case, it has circulated most widely in its string-orchestra version, and the writing for strings is knowing and euphonious.
The movements include a sarabande, that was traditionally included in the seven?teenth-century orchestral suite; as well as three other dances, a gavotte, an air, and a rigaudon, that find equivalents in the suites of Bach and Handel. The prelude, more commonly found in keyboard music, is a ceremonial opener that creates the clangor of a full orchestra through spacious and careful scoring.
Symphony No. 13, Op. 113
(Babi Yar)
Dmitri Shostakovich
Born September 25, 1906 in Leningrad, Russia
Died August 9, 1975 in Moscow
Kiril Kondrashin conducted the first perfor?mance of Dmitri Shostakovich's Symphony No. 13 in the Great Hall of the Moscow Conservatory on December 18, 1962. The score calls for two flutes and piccolo, three oboes (one doubling English horn), three clar?inets (one doubling E-flat clarinet and bass clarinet), two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, snare drum, wood block, castanets, cymbals, bass drum, tam-tam, whip, glockenspiel, xylo?phone, chimes, celesta, piano, harp, strings, bass solo, and men's chorus.
Over his long career, Shostakovich wove a slalom course around the constant changes in Soviet politics. During the brief periods when the party line dictated free expression, he composed works as daring as his Symphony No. 4. When the cultural establishment decreed strict conformity, he toed the line, or encoded his true feelings, as in the outwardly apologetic but inwardly subversive Symphony No. 5.
Symphony No. 13 was born during the cultural thaw of the early 1960s, the third
period of de-Stalinization since the dicta?tor's death in 1953. The poet Yevgeny Yevtushenko was one of the first to test the waters with his poem "Babi Yar," an indict?ment both of Nazi atrocities on Russian soil during World War II and of continuing anti-Semitism in the Soviet Union.
The title of Yevtushenko's poem refers to the ravine near Kiev, where Nazi troops, aided by sympathetic Russians, murdered more than 33,000 Jews over two days in 1941. The slaughterers had to work in shifts, and when their work was done, they covered piles of corpses with a thin layer of soil. Two years later, the Nazis tried to bury their tracks by exhuming and burning the remains. Even after the war, Soviet authori?ties balked at building a memorial and refused to admit the complicity of their own countrymen.
Yevtushenko's poem struck Shostakovich like lightning, and he set it to music even before he had the poet's permis?sion. To this first movement, he quickly added settings of three more existing poems by Yevtushenko. As the collaboration gath?ered steam, the poet provided one more poem, "Fears," for what had by then become Shostakovich's Symphony No 13.
Party hacks tried to sabotage the pre?miere, and did force some changes in the poetry. Only two performances apparently took place before the party banned the work altogether. It remains today, more than a quarter of a century later, as an unblinking j'accuse against intolerance in every guise. For his hour-long setting, the composer deferred to the poet, keeping the orchestra mostly in the background, but drawing in sharp, bold strokes that recall the first streaks of Russian nationalism, in the works of Glinka and Mussorgsky.
Program notes by Michael Fleming.
Symphony No. 13
I. Babi Yar
Chorus
There is no memorial above Babi Yar. The steep ravine is like a crude tombstone. I'm frightened. I feel as old today as the Jewish race itself.
Sob
I feel now that I am a Jew. Here I wander through ancient Egypt. And here I hand on the cross and die, and I still bear the mark of the nails. I feel that I am Dreyfus in my mind. Denounced and judged by the bourgeois
rabble.
I am behind bars. I am encircled. Persecuted, spat on, slandered. And fine ladies with lace frills squeal and poke their parasols into my face. I feel that I am a little boy in Bialystok.1
Chorus
Blood is spattered over the floor. The ringleaders in the tavern are getting brutal, they smell of vodka and onions.
Sob
I'm kicked to the ground, I'm powerless. In vain I beg the persecutors.
Chorus
They guffaw, "Kill the Yids! Save Russia!" A grain merchant beats up my mother.
Sob
Oh, my Russian people, I know -you are internationalists at heart. But there have been those with soiled hands who abused your good name. I know that my land is good. How filthy that without the slightest shame the anti-Semites proclaimed themselves
1 Scene of a Jewish pogrom in June 1906
Solo & Chorus "The Union of the Russian People!"
Sob
I feel that I am Anne Frank, as tender as a shoot in April. I am in love and have no need of words. But we need to look at each other. How little we can see or smell! The leaves and the sky are shut off from us. But there is a lot we can do -tenderly, we can embrace each other in the dark room!
Chorus "Someone's coming"
Sob
"Don't be frightened. These are the sounds of spring, spring is coming, Come to me. Give me your lips quickly!"
Chorus "They're breaking down the door"
Sob "No! It's the ice breaking!"
Chorus
Above Babi Yar the wild grass rustles, the trees look threatening, as though in
judgment. Here everything silently screams, and,
baring my head, I feel as though I am slowly turning grey.
Sob
And I become a long, soundless scream above the thousands and thousands
buried here.
I am each old man who was shot here. I am each child who was shot here. No part of me can ever forget this.
Chorus
Let the "Internationale" thunder out when the last anti-Semite on the earth has finally been buried.
Solo
There is no Jewish blood in my blood. But I feel the loathsome hatred of all anti-Semites as though I were a Jew -
Solo & Chorus And that is why I am a true Russian!
II. Humour
Solo & Chorus ' Tsars, kings, emperors, rulers of all the world have commanded parades but couldn't command humour.
In the palaces of the great, spending their days sleekly reclining, Aesop the vagrant turned up and they would all seem like beggars.
In houses where a hypocrite had left his wretched little footprints, Mullah Nasredin's2 jokes would demolish trivialities like pieces on a chessboard!...
They've wanted to buy humour, but he just wouldn't be bought! They've wanted to kill humour, but humour gave them the finger.
Fighting him's a tough job.
They've never stopped executing him.
His chopped-off head
was stuck onto a soldier's pike.
But as soon as the clown's pipes struck up their tune, he screeched out, "I'm here!" and broke into a jaunty dance.
Wearing a threadbare little overcoat, downcast and seemingly repentant, caught as a political prisoner, he went to his execution.
Everything about him displayed submission, resignation to the life hereafter, when he suddenly wriggled out of his coat, waved his hand and bye-bye!
They've hidden humour away in dungeons, but they hadn't a hope in hell. He passed straight through bars and stone walls.
Clearing his throat from a cold, like a rank-and-file soldier, he was a popular tune marching along with a rifle to the Winter Palace.3
He's quite used to dark looks, they don't worry him at all, and from time to time humour looks at himself humorously.
He's eternal. He's artful. And quick, he gets through everyone and everything. So then, three cheers for humour! He's a brave fellow!
The chorus acts as a kind of refrain, echoing and repeating words and phrases sung by the Solo.
Legendary folk hero from Bokhara a kind of Tyl EulenspiegelRobin Hood, who made fools of the rich and helped the poor.
In 1917 the revolutionary soldiers stormed the Winter Palace of the Tsar chanting a limerick written by Mayakovsky.
III. In the Store
Solo
Some with shawls, some with scarves, as though to some heroic enterprise or to work, into the store one by one the women silently come.
Chorus
Oh, the rattling of their cans, the clanking of bottles and pans! There's a smell of onions, cucumbers, a smell of "Kabul" sauce.
Solo
I'm shivering as I queue up for the cash desk, but as I inch forward towards it, from the breath of so many women a warmth spreads round the store.
SoloChorus They wait quietly, their families' guardian angels, and they grasp in their hands their hard-earned money.
SoloChorus
These are the women of Russia. They honour us and they judge us. They have mixed concrete, and ploughed, and mown... They have endured everything, they will continue to endure everything.
Solo
Nothing in the world is beyond them -they have been granted such strength!
Solo & Chorus
It is shameful to short-change them! It is sinful to short-weigh them!
SoloChorus
As I shove dumplings into my pocket I sternly and quietly observe their pious hands weary from carrying their shopping bags.
IV. Fears
Chorus
Fears are dying out in Russia, like the wraiths of bygone years; only in church porches, like old women, here and there they still beg for bread.
Solo I remember when they were powerful
and mighty
at the court of the lie triumphant. Fears slithered everywhere, like shadows, penetrating every floor.
They stealthily subdued people
and branded their mark on everyone:
when we should have kept silent they taught
us to scream, and to keep silent when we should have
screamed.
All this seems remote today.
It is even strange to remember now.
The secret fear of an anonymous
denunciation, the secret fear of a knock at the door.
Yes, and the fear of speaking to foreigners Foreigners...even to your wife! Yes, and that unaccountable fear of being left, after a march, alone with the silence
Chorus We weren't afraid of construction work
in blizzards
or of going into battle under shell-fire, but at times we were mortally afraid of talking to ourselves.
We weren't destroyed or corrupted, and it is not for nothing that now Russia, victorious over her own fears, inspires greater fear in her enemies.
Solo
I see new fears dawning: the fear of being untrue to one's country, the fear of dishonestly debasing ideas which are self-evident truths;
The fear of boasting oneself into a stupor, the fear of parroting someone else's words, the fear of humiliating others with distrust and of trusting oneself overmuch.
Chorus Fears are dying out in Russia.
Solo
And while I am writing these lines, at times unintentionally hurrying, I write haunted by the single fear of not writing with all my strength.
V. A Career
SoloChorus
the priests kept on saying that Galileo was dangerous and foolish. But, as time has shown, the fool was much wiser!
A certain scientist, Galileo's contemporary, was no more stupid than Galileo. He knew that the earth revolved, but he had a family.
Solo
and as he got into a carriage with his wife after accomplishing his betrayal, he reckoned he was advancing his career,
SoloChorus but in fact he'd wrecked it.
Solo
For his discovery about our planet Galileo faced the risk alone
SoloChorus and he became a great man.
Solo & Chorus Now that is what I understand by a careerist.
Chorus (& Solo)
So then, three cheers for a career when it's a career like that of Shakespeare or Pasteur, Newton, or Tolstoy (Leo) Leo!1
Chorus
Why did they have mud slung at them Talent is talent, whatever name you give it.
Solo They're forgotten, those who hurled curses,
Yevtushenko (and Shostakovich) wish to make sure the readerlistener does not confuse Leo Tolstoy with Alexei Tolstoy, the novelist of the Stalinist period.
Chorus but we remember the ones who were cursed,
Solo
All those who strove towards the stratosphere, the doctors who died of cholera, they were following careers!
SoloChorus I'll take their careers as an example!
Solo
I believe in their sacred belief, and their belief gives me courage. I make a career for myself by not making one.
Deutsche Grammophon GmbH, Hamburg. Used with permission.
Born in Tallinn, Estonia, Neeme Jarvi studied percussion and choral conducting at the Tallinn Music School, and opera and symphonic conducting at the St. Petersburg Conservatory in Russia. He made his conducting debut at age eighteen at the Kirov Theatre conducting Bizet's
Carmen. In 1963, he became music director of the Estonian Radio and Television Orchestra and began a thirteen-year tenure as chief conductor of the Tallinn Opera.
In 1971, Jarvi became artistic director and chief conductor of the Estonian State Symphony and won first prize at the Accademia di Santa Cecilia Conductors' Competition in Rome, which led to invitations from major orchestras around the world. In
1979, he made his American debut at the Metropolitan Opera conducting Eugene Onegin. A year later, Jarvi made his American symphonic debut with the New York Philharmonic. Since then he has become one of the most active conductors in North America and Europe appearing regularly with London's Philharmonia Orchestra, Amsterdam's Royal Concertgebouw, Berlin Philharmonic, Orchestre National de France, Orchestre de Paris, Orchestra dell'Accademia Santa Cecilia, Orchestre de la Suisse Romande, and the orchestras of Chicago, San Francisco, New York and Minnesota.
In addition, he served as principal guest conductor of England's City of Birmingham Symphony Orchestra from 1981-93 and music director of the Royal Scottish National Orchestra from 1984-88. Since 1982, Jarvi has been principal conductor of the Gothenburg Symphony Orchestra, Sweden's national symphony. In 1990, he became the eleventh music director of the Detroit Symphony Orchestra, and has since led sold-out concerts, award-winning record?ings, and national and international broad?casts. In 1995, he was named chief guest conductor of the Japan Philharmonic.
Jarvi's recording repertoire includes over 350 discs on the DSO, Deutsche Grammophon, Chandos, BIS, Orfeo, EMI and BMG labels. He has recorded complete cycles of Grieg, Nielsen, Shostakovich, Dvorak and Sibelius. With the DSO Jarvi has released three independent discs: Encore Live! from Orchestra Hall, Joy! A Celebration of Holiday Music and Ellington and the Modern Masters. One of his latest recordings is on the RCA Red Seal label and features Bruch's Concerto for Violin, Viola and Orchestra in e minor with Yuri Bashmet, Viktor Tretyakov and the London Symphony Orchestra.
He holds honorary degrees from the University of Aberdeen, the Music Conservatory of Tallinn, and an honorary Doctorate of Humane Letters from Detroit's Wayne State University. He is also an hon?orary member of the Royal Swedish Academy of Music. In September 1990, King Karl Gustav XVI dubbed Jarvi a Knight Commander of the North Star Order. In 1996, he was elevated to a member of the Order of the National Coat of Arms by the president of the Republic of Estonia, Lennart Meri. In 1997, the mayor of Tallinn presented Jarvi with the city's first-ever cere?monial sash and coat of arms insignia. In 1998, Estonia named him one of the top twenty-five "Estonians of the Century."
The music directorship of the DSO is endowed by the Kresge Foundation.
This afternoon's performance marks Neeme Jarvi's eighth appearance under UMS auspices.
A leading artist with the Royal Opera at Covent Garden in London, Russian-born bari?tone Sergei Leiferkus appears regularly in the world's lead?ing opera houses such as the Kirov, Bastille, Vienna State, Berlin Staatsoper, Metropolitan, San Francisco Opera, Lyric of Chicago, Houston Grand Opera and Dallas Opera. He is also a soloist with the world's foremost
orchestras including the Boston Symphony, Montreal Symphony, Berlin Philharmonic and London Symphony. In addition, Leiferkus has performed recitals at such international concert venues as New York City's Carnegie and Alice Tullv Halls;
London's Royal Festival Hall, Royal Albert Hall, Wigmore Hall, and Barbican Center; Amsterdam's Concertgebouw and Vienna's Musikverein and Konzerthaus.
His voice and acting ability have made it possible for Leiferkus to be active in an amazingly diverse operatic repertoire. He has performed leading roles in Othello, Lohengrin, Don Giovanni, Le Nozze di Figaro, Eugene Onegin, Prince Igor, Fiery Angel, and War and Peace. In all, his repertoire encompasses more than forty roles. His appearances with orches?tras have included Bach's St. Matthew Passion, Berlioz' La Damnation de Faust, Brahms' Ein Deutsches Requiem, Britten's War Requiem, Mahler's Das Lied von der Erde, Mussorgsky's Songs and Dances of Death, Rachmaninoff's The Bells, Shostakovich's Symphonies No. 13 and 14, and Walton's Belshazzar's Feast.
Leiferkus' recordings include Tchaikovsky's Pique Dame on BMGRCA, Mazeppa on Deutsche Grammophon, Fiery Angel on Philips, Mussorgsky's Boris Godunov on Sony, and Beethoven's Fidelio on Teldec. On video, Leiferkus can be seen in Eugene
Onegin, Prince Igor, Fiery Angel and Othello from the Kirov Opera; in three different productions of Pique Dame; and in Nabucco from the Bregenz Festival. Recent telecasts include Carmen and Samson and Delilah, both from the Metropolitan Opera.
This afternoon's performance marks Sergei Leiferkus' debut appearance under UMS auspices.
Founded in 1914, the Detroit Symphony Orchestra is heard live by over 450,000 people annually in classical, pops, jazz, holiday festival, special events, educational and Young People's series con?certs at Orchestra Hall and other Michigan venues including Meadow Brook Music Festival, Henry Ford Museum at Greenfield Village and Interlochen. It's twenty-six week classical subscription season is recorded live at Orchestra Hall and broadcast on General Motors' Mark of Excellence nationally syndi?cated radio series, hosted by Dick Cavett and heard by over one-million people each week. Since 1928, the DSO has amassed a long and distinguished recording catalog with albums on the Victor, London, Decca, Mercury, RCA, Chandos and DSO labels. Since 1990, Music Director Neeme Jarvi and the orchestra have released over thirty com?pact discs. Their first release, American Series Vol. 1, was critically acclaimed and appeared on Billboard Magazines Top Classical Album chart for fourteen weeks.
In addition to performances and recordings, the DSO provides numerous educational and community activities, including free concerts for school children, pre-professional training ensembles for youths -the Detroit Symphony Civic Orchestra and the Detroit Symphony Sinfonia, annual Classical Roots concerts which celebrate the contribution of African-
American composers and musicians, and the DSO Fellowship Program for African-American orchestral musicians.
This afternoon's performance marks the Detroit Symphony Orchestra's seventy-sixth appearance under UMS auspices.
The sixty-voice Estonian National Male Choir has a long tradition and a unique position in the world. Founded in 1944 by Gustav Ernesaks, an Estonian choral music legend, the choir per?forms oratorial works with such luminary conductors as Neeme Jarvi, Paavo Jarvi, Riccardo Muti, Leif Segerstam, Gennady Rozhdestvensky, Maxim Shostakovich, Esa-Pekka Salonen and Eri Klas.
Since its founding, the choir has given nearly 5,000 concerts and has performed in Estonia, the former Soviet Union, Canada, the US and Sweden. Critically acclaimed concerts of past years include a program of Nordic music under the Swedish conductor Robert Sund, the music of Veljo Tormis, as well as many romantic and contemporary a cappella compositions -a genre that occu?pies a special place in the choir's repertoire. In addition to performing and touring, the choir is now actively recording. One of its first recordings is Sibelius' Kullervo for Virgin Classics with Paavo Jarvi and the Stockholm Royal Philharmonic Orchestra. Other recordings can be found on the Deutsche Grammophon, Warner, Virgin, Finlandia and Sony labels.
Please refer to UMS Annals, page 25, for biographical information on the Men of the UMS Choral Union.
This afternoon's performance marks the UMS Choral Union's 374th appearance under UMS auspices.
Detroit Symphony Orchestra
Neeme Jarvi, Music Director
Music Directorship endowed by the Kresge Foundation
Erich Kunzel, Pops Music Advisor Michael Daugherty, Composer-in-Residence
First Violins
Emmanuelle Boisvert Concertmaster {Catherine Tuck Chair
John Hughes Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair
Joseph Goldman Assistant Concertmaster Walker L. CislerDetroit Edison Foundation Chair
Laura Rowe Assistant Concertmaster
Beatriz Budinszky
Marguerite Deslippe-Dene
Alan Gerstel
Elias Friedenzohn
Laurie Landers Goldman
Kimberly Kaloyanides
Malvern KaufmanA
Varty Manouelian
Bogos Mortchikian
Linda Snedden-Smith'
Ann Strubler
LeAnn Toth
Margaret Tundo
Second Violins
Geoffrey Applegate+ Adam Stepniewski++ Alvin Score Lillian Fenstermacher Ron Fischer Lenore SjobergAA Robert Murphy Thomas Downs Felix Resnick Bruce Smith Joseph Striplin Marian Tanau Hai-Xin Wu
Violas
Alexander Mishnaevski+ James VanValkenburg++ Manchin Zhang Caroline Coade
Glenn Mellow David Ireland Hart Hollman Gary Schnerer Philip Porbe Catherine Compton
Violoncellos
Marcy Chanteaux++t
James C. Gordon Chair John ThurmanH: Mario DiFiore Robert A. Bergman Barbara Hassan Debra Fayroian Carole Gatwood Haden McKay Paul Wingert
Basses
Robert Gladstone
Van Dusen Family Chair Stephen Molina++ Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Marshall Hutchinson Richard Robinson
Harp
Patricia Masri-Fletcher+ Winifred E. Polk Chair
Flutes
Ervin Monroe+
Women's Association for the
DSO Chair
Sharon Wood Sparrow Philip Dikeman++ Jeffery Zook
Piccolo
Jeffery Zook
Oboes
Donald Baker+
Jack A. and Aviva , Robinson Chair
Shelley Heron Brian Ventura++ Treva Womble
English Horn
Treva Womble
Clarinets
Theodore Oien+
Robert B. Setnple Chair
Douglas Cornelsen PVS Chemicals, IncJim and Ann Nicholson Chair
Laurence Liberson++
Oliver Green
Alexander Laing ?
E-Flat Clarinet
Laurence Liberson
Bass Clarinet Oliver Green
Bassoons
Robert Williams+
John and Marlene Boll Chair Victoria King Paul Ganson++ Marcus Schoon
Contrabassoon
Marcus Schoon
French Horns
Eugene Wade+ Bryan Kennedy Corbin Wagner Willard Darling Mark Abbott++ David Everson
Trumpets
Ram6n Parcells+ Kevin Good Stephen Anderson++ William Lucas
Detroit Symphony Orchestra cont.
Trombones Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes
Bass Trombone Randall Hawes
Tuba
Wesley Jacobs+
Timpani
Brian ]ones+ Robert Pangborn++
Percussion
Robert Pangborn+
Ruth Roby and Alfred R.
Clancy III Chair Norman Fickett++ Sam Tundo
William Cody Knicely Chair
Librarians
Elkhonon Yoffe
Head Librarian Robert Stiles
Personnel Manager
Stephen Molina
Orchestra Personnel Manager
Stage Crew Michael J. Brie
Stage Manager Larry Anderson
Department Head
Chairman of the Board Peter D. Cummings
Activities of the Detroit Symphony Orchestra are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and
Cultural Affairs, and the City of Detroit. The Detroit Symphony Orchestra is an affirmative action, equal opportunity institution.
LEGEND
+ Principal
++ Assistant Principal
t Acting Principal
tt Acting Assistant Principal
A Extended Leave
" On sabbatical first half of 1999-2000
These members may voluntarily
revolve seating within the section
on a regular basis. ? Orchestra Fellow
Partial sponsorship provided by Howard & Howard and DSO's William Randolph Hearst Educational Endowment.
The Estonian National Male Choir
Ants Soots, Director Velio Maeots, Manager Andres Paas, Pianist Katrin Sein, Editor
I Tenor
Juri Annus Aiv.i K.ikin-VainoKaro Amis Koll.i Helmuth Koiv Pritt Lehto RaulMikson Enn-Aare M.nul Lembit Poobus Urmas Poldma Madis Reinsoo LeoSaar Taavi Teder MaliV.ild.ini Gunnar Veskus
II Tenor
Vladimir Kerbis Olev Koit Martin Kullerkupp Rein Mustasaar V.iklur Paarmets Ants Reinhold Ai 11 Rondik VilluSaarum Aleks Schonberg Arno Sildos Kaido Tani Mati Tuisk MartUnt MargusVaht
Baritone Per Eeljoe Meelis Hainsoo Hanno Hint Mart huir Mareks Lobe Silver Lurni Toomas Piigli Andrus Poolma Priit Poldma Rein Rajamagi Aleksa Sarapuu Andrus Siimon Toomas Tunder
Bass
Andres Alamaa luli.in Heinapuu Matti laago Arvo Jogger Robert Jiirjendal OloKrigul Vaino Melgo Aleks Mihhailov Joosep Sang Olo Tammae Lembit Traks Indrek Umberg EndeloValkenldau JaanVik
Men of the UMS Choral Union
Thomas Sheets, Conductor Jean Schneider-Claytor, Accompanist Edith Leavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Tenors
Fred L. Bookstein
Fr. Timothy J.
Dombrowski Philip Enns Stephen Erickson John W.Etsweiler III Steve Fudge Albert P. Girod Jr Roy Glover Arthur Gulick Robert Hamel Stephen Heath Knul Hill Derek Jackson Douglas Kc.is.il Robert Klaffke
Gregor Koso John Mulcrone MikeNeedham Steve Pierce Phillip Rodgers Matthew Rush Thomas Sheffer Scott Silveira Daniel Sonntag James Van Bochove
Basses
N.ith Anderson Harry Bowen Daniel Burns Kee Man Chang George Dentel Robert Edwards Don Faber Philip Gorman Charles T. Hudson Michael Khoury Matthew Laura Mark Lindley George Lindquist Rod Little Lawrence Lohr Charles Lovelace Joseph D. McCadden lolm Middlebrooks
Gerald Miller Michael Pratt Mark Ream Sheldon Sandweiss Marshall S. Schuster Curt Scott Michael Semaan John T. Sepp Fred Shure Rodney Smith Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Jack L. Tocco Terril O. Tompkins John Van Bolt
UMS
and Comerica
present
Simply committed to the best in dance for Michigan.
Amalia Hernandez'
Ballet Folklorico de Mexico
Amalia Hernandez, General Director and Choreographer
Program
Tuesday Evening, October 5,1999 at 8:00 Wednesday Evening, October 6,1999 at 7:00 Power Center, Ann Arbor, Michigan
Aztecs (US premiere) Sounds Of Michoacan Revolution Tlacotalpan's Festival
INTERMISSION
Tarasco (US premiere) Guerrero Guerrero The Deer Dance Jalisco
Fifth and
Sixth Performances
of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Comerica, with additional support from AAA Michigan.
Special thanks to Caroline Chambers and James Miller for their generous sup?port through Comerica.
Additional support provided by media sponsor, WDET.
Special thanks to Lawrence Givens, Susan Carbin, and Sandi Zauner for their support through AAA Michigan.
Special thanks to Gregorio Luke for speaking at the Pre-Performance Education Presentation (PREP).
Special thanks to Alianza and the Ann Arbor Art Center for their assistance with this residency.
Amalia Hernandez' Ballet Folklbrico de Mexico is a Friedson EnterprisesJulio Solorzano-Foppa Production.
Ballet Folkldrico de Mexico de Amalia Hernandez wishes to thank their 1999 US tour sponsors:
Founding national title sponsor celebrating eleven years of visionary commit?ment: American Honda Motor Corp., Inc.
National title sponsor for two years and seven years as a Children's Cultural Education Fund sponsor: TELMEX
National Co-Sponsors:
The Secretary of Tourism of Mexico City, the home of the Ballet Folklorico de
Mexico de Amalia Hernandez
Household Products Inc., exclusive licensee of Black & Decker Household Products
National Associate Sponsor-Official Airline US Tour 1999, American Airlines Additional Sponsor, Royal Caribbean International
Ballet Folklorico de Mexico de Amalia Hernandez would also wish to thank American Honda Motor Corp., Inc., TELMEX, CEMEX, Secretary of Tourism of Mexico City, Secretary of Public Education, Mexico, Windmere-Durable Holdings, Inc., Los Angeles Times-Times Mirror and The Music Center of Los AngelesEducation Division for their participation in the Children's Cultural Education Fund.
Large print programs are available upon request.
Aztecs (US premiere)
These primitive dance rituals with indige?nous musical rhythms, steps and themes have survived to the present time. The scenic design is inspired by codex drawings and the sculptures preserved in the National Museum of Anthropology. The choreogra?phy is based on historical descriptions.
The Aztec is the best known of pre-Hispanic cultures because it was at its height when the Spanish conquistadors arrived in the second decade of the sixteenth century. Many rich details of Aztec culture have been preserved. Great architectural ruins, detailed ceramics, and extensive texts, including codices and eye-witness accounts of Aztec culture have provided Amalia Hernandez with the themes and inspiration for these
Aztec choreographies: "The Tiger Men," "The Priests," "The Maidens," "The Warriors" and "Final Dance."
Sounds Of Michoacan
Michoacan, one of the states of Mexico, is rich in its folklore, with a grand amount of treasure in its history, tradition and folk art. Arts like ceramics, weaving, copper, wood-carving and lacquer work flourish in the state. Therefore, it is hardly surprising that the state also offers a unique repertory of ancient music both for songs and dance. This ballet, the first folkloric ballet com?posed by Amalia Hernandez, begins with a village fiesta in which the dances are per?formed in front of a flower arch, one of the
common decora?tions for such a cel?ebration.
The brief but showy selection of dances begins with three "rattle" dances which reveal their hybrid Indo-Spanish origin by the constant use of the rattle, an instru?ment almost invari?ably used in pre-Hispanic times to mark the rhythms of all dances. These dances are followed by the jarabes, clas?sic examples of the style that has devel?oped in different regions of Mexico with rapid steps full of gaiety and optimism.
Revolution
Modern Mexico began with the Revolution of 1910 where for the first time in the country's history, Mexican women joined men in the political struggle. This ballet is dedicated to the Soldaderas, the women who participated in the Mexican revolutionary movement -as soldiers and supporters -to fight for liberty.
In contrast to the weary men and women of the Revolution, is a group of young aristocrats dancing European polkas and flirting with each other, completely
unconcerned with the peo?ple's fight for freedom. This elite party is eventually bro?ken up by a group of revolu-
tionaries, brandishing their weapons. It is the peasants who finally dance and rejoice in the aristrocratic drawing room. The songs "Juana Gallo" and "Adelita" are dedi?cated to their namesakes, two heroines of the Revolution.
The final song of this work recounts and celebrates the brave and decisive fight held in Zacatecas, where Francisco Villa defeated the Federal Government.
Tlacotalpan's Festival
On January 31, the Mexican town of Tlacotalpan celebrates a unique holiday in honor of the Virgin of Candelaria. On a stage built in the Town Square, musicians and fandango dancers perform to the rhythms of Caribbean music played on conga drums. Mojigangas, the giant puppets that represent local figures, are carried through torch-lit streets in a grand parade reminiscent of Mardi Gras.
Tarasco (US premiere)
In a series of parodies, this ballet interprets the different stages of the Tarascan life. Tarascans are native fishermen who live at the edges of Lake Patzcuaro, in the state of Michoacan.
Birth At dusk, the scene opens with the women singing an old cradle song while
they wait for their men to return after a night's fishing.
Childhood The boys of the town dance "The White Fish."
Youth "Dance of the Soldiers."
Old Age Done with the "Old Men's Dance" from Jaracuaro, where the young imitate the elders and their decrepitude, contrasting the youth's own vigorous dance.
Parody Of Life And Death "The Little Bull from Tarimbaro" ironically describes a bullfight in a small town.
Guerrero Guerrero
The title comes from the name of the hero Vicente Guerrero, and the word "warlike" {guerrero) which signifies courage.
Las Amarillas Calendria is the name of a yellow and orange bird whose song is both loud and beautiful.
El Gusto is a Mexican tap dance from the coast of Guerrero performed in the towns of Zirandaro and Altamirano.
The Deer Dance
The Yaqui people are excellent hunters who have remained untouched by Spanish influence and are the only remaining autonomous aboriginal tribe in Mexico. Free from any intermixing with the modern Mexicans, they still hunt with bow and arrow, cultivate the land with traditional methods and celebrate ritual dances with ancient hermetic fervor. The Deer Dance, probably the most dramatic of Amalia Hernandez' dances and one of the finest examples of imitative magic, is based on a propitiatory rite that takes place on the day before a Yaqui hunt. In the dance, the hunter reproduces with astonishing fidelity the movements of the animal that he will be hunting the following day.
Jalisco
The Mexican state of Jalisco is well known for its beautiful women, its dashing cowboys and its highly skilled mariachis. For a centu?ry, this state has been the national symbol of Mexico because of the people's dynamism and zest for life. The popular group of
dances that is presented here comes to a cli?max in the "Jarabe Tapatio" -the Mexican national dance, better known in the United States as the "Mexican Hat Dance."
These performances mark Amalia Hernandez' Ballet Folklorico de Mexico's third and fourth performances under UMS auspices. The company debuted under UMS auspices on Novei7iber 1, 1963 and last performed under UMS auspices on February 26, 1969.
1999 US Tour Staff
Amalia Hernandez Ballet Folkl6rico de Mexico
Amalia Hernandez, General Director and Choreographer
Norma L6pez Hernandez, Artistic Director
Salvador L6pez Lopez, Administrative Director
Viviana Basanta, Carlos Casados, Jos6 Villanueva Gonzalez,
Artistic Coordinators
Claudio Bonifax, Administrative Coordinator Miguel Angel Arteaga, Tour Coordinator Dasha, Robin Bond, Rene Duron, Luis Alvarez,
Guillermo Barklay, Delfina Vargas, Arq. Agustin Hernandez,
Felipe Pons, Wardrobe and Scenic Design Gilbert V. Hemsley, Jr., Edmundo Arreguin, Antulio Avalos,
Jose Luis Martinez, Lighting Mauro Martinez, Sound Technician Rafael Zuniga, Guillermo BotelEo, Edmundo Hernandez,
Stagehands Esperanza Estebanez, Wardrobe
Friedson Enterprises
Adam Friedson and Julio Sol6rzano-Foppa, Producers
Kathleen Schahfer, Francisco Gonzalez Nava, Co-Producers (US)
Sara Casamayor, Co-Producer (Mexico)
Stephen H. Arnold, Company Manager
Orlando Maroguo, Assistant to the Company Manager
Carlos Enrique Diaz, Production Stage Manager
Rick Recknor, Master Carpenter
Michael Ituarte, Master Electrician
Mario Reyes, Sound Technician
Jim Shaw, Sponsorship Coordinator
Rosie M.V. Estrada, Victoria M. Romero, Timmy D. Burt,
Cynthia Vargas, Tyia Wilson, Christopher Christman,
Production Staff (US) Alicia Espinosa, Olivia Dorantes, Carlos Lozada,
Gerardo Flores, Jorge Balcazar, Production Staff (Mexico) Sound AssociatesN.Y.C, Sound Equipment Herrera CoachesAlbuquerque, NM, Ground Transportation Paramount Show Transportation, Inc., Transportation of
Technicial Equipment
Dancers
Viviana Alvarez Basanta, Tatiana Alvarez Basanta, Dalia Martinez, Sandra Rojas, Guadalupe Ortiz, Alexandra Gutierrez, Linda Faraon, Elsa Delgado, Liliana Florcs, Xochitl Sanchez, Ana Laura Dominguez, Nancy Ruiz, Consuelo Zermeno, Yessica Polo, Judith Lopez, Angelica Sandoval, Diana Ovalle, Liliana Rodriguez, Claudia Barron, Juan Jose Perez, Victor Hugo Cortes, Israel Rojas, Juan Luis Torres, Marcos Castro, Gustavo Martinez, Francisco Javier Carrillo, Altair Guadarrama, Erick Mont fort, Jesus Flores, Fernando Martinez, Alfredo Vazquez, Omar Iza, Juan Antonio Flores, Miguel Angel Ramirez, Antonio Martinez, Jorge Torres, Raymundo Torres
Musicians
Humberto Medina, Catarino Torres, Eustaquio Pena, Ruben Lemus, Miguel Gonzalez, Jose Medina, Tomas de la Rosa, Ramon Sanabria, Rogaciano Medina, Gamaliel Medina, Hector Medina, Margarito Trujillo, Salvador Pena, Esteban Salinas, Cleto Vergara.
Chorus
Mtro. Victor Manuel Hernandez, Director
Diana Aguero, Matalia Rios, Ivonne Gonzalez, Susana Tellez, Rocio Navarrete, Roxana Arellano, Alejandra Pineda, Andrea Hernandez, Artemisa Flores, Angel Beristain, Antonio Carbajal, Alejandro Wits, Juan de la Vega, Jorge Berrueco, Eric Torres, Jesus Ibarra, Eduardo Llanos
We wish to extend a very special thanks to Columba Bush and Amalia Hernandez, founders of the Children's Cultural Education Fund of the Ballet Folkl6rico de Mexico de Amalia Hernandez, for their devotion to the non-profit charitable pro?gram which raises funds to produce educational materials and underwrite free performances of the Ballet Folkl6rico de Mexico de Amalia Hernandez for school-aged children.
UMS
presents
Paco Pena and Inti-lllimani
Jorge Ball Daniel Cantillana Jorge Coulon
Marcelo Coulon
Horacio Duran Horacio Salinas
Efren Manuel Viera
with
Paco Pena
flutes, quena, piccolo, cuatro, percussion
violin, viola
guitar, tiple, harp, hammered dulcimer,
rondador, vocals, composer
guitar, quena, piccolo, bass, flute,
Mexican guitarron, vocals
charango, cuatro, violin, percussion, vocals
musical director, composer, guitar, cuatro,
tiple, charango, percussion, vocals
congas, bongo, timbales and other Latin
percussion, baritone saxophone, clarinet
flamenco guitar
Victor Seves, sound director Gustavo Arenas, lighting director
Don Verdery, tour manager
Program
Friday Evening, October 8, 1999 at 8:00 Michigan Theater, Ann Arbor, Michigan
Paco Pena and Inti-IUimani will announce their program from the stage.
Seventh Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided in part by media sponsor, WDET. Inti-Illimani is represented worldwide by GamiSimonds, Inc. Paco Pena is represented worldwide by Wim Visser.
Inti-Illimani would like to give special thanks for their support and guid?ance to Lois Catalano, Ines Ulloa, Daniel Brewer, Peter Kotsatos, J. D'Addario & Co., Design to Printing, Dimitri Rinsky, Horacio and Mona Mena and Xenophile Records.
Inti-Illimani and Paco Pena use D'Addario Strings.
Large print programs are available upon request.
Paco Pena had admired the work of Inti-Illimani for several years before form?ing the musical and personal friendship between themselves which is expressed in their two recordings together, Fragments of a Dream and Leyenda (both on CBSSony). The collaborations grew naturally and inevitably from the guest appearances of Paco Pena (together with guitarist John Williams) in several of Inti-Illimani's London performances during the mid-1980s. Paco also presented the"Intis" at his festival in Cordoba, Spain. These first performances showcased the two guitarists mainly as soloists, joining Inti-Illimani for one or two songs at the end of the evening. In the end, everyone in the ensemble had an increased desire to perform more together, leading to a completely integrated program. Following this North American tour, Inti-Illimani and Paco Pena will tour New Zealand and Australia together.
Musical Instruments
Inti-Illimani plays more than thirty wind, string and percussion instruments. In gener?al terms, these instruments belong to the European, American Indian, African and Mestizo cultures which intertwine to form the rich and voluminous musical heritage of the Latin American Continent.
In the last few years, Inti-Illimani has toured annually on the five continents, as well as residing in Italy for more than four?teen years. On these tours, Inti-Illimani has come into contact with numerous cultures, often integrating their instruments to Inti-Illimani's music. This is the case with the dulcimer, a string-percussion instrument from the Middle East which the group integrated in Turkey. A similar situation occurred with the Peruvian cajoti, an instru?ment of the urban musical culture of Peru.
Following is a listing of the main instruments played by Inti-Illimani in tonight's performance.
String Instruments
Guitar
A European instrument adopted by the Latin American population. It is the basic instrument of Chilean folk music.
Guitarron Mexicano
A mixture of a traditional jazz bass and a
guitar, it has the structure of a guitar of
large dimensions, with only having four
strings.
Cuatro
An instrument of Venezuelan and Colombian origin, with four strings and a resonance case smaller than the guitar. It produces a dry sound.
Tiple
A small guitar with a very full sound pro?duced by twelve strings (four groups of three). It is played mostly in Colombia.
Charango
The most indigenous of all the guitar-like instruments, the charango is believed to be a descendant of the guitar, lute or mandolin. The Incas of the region known today as Ecuador, Bolivia, Peru, part of Argentina and northern Chile, originally made it from a string instrument introduced by the Spaniards. It is an instrument with five-paired strings mounted over a resonance case made of the carapace of a small armadillo, or of a special wood. The sound is very high pitched and penetrating, giving a special character to the traditional music of northern Chile, Bolivia and Argentina.
Hammered Dulcimer
A Middle Eastern instrument currently used
in the popular traditions of Turkey,
Romania and Greece. It has a horizontal box with three rows of strings, which sound when hammered with two small drumsticks, which are hand-manipulated.
Violin
The traditional European violin, commonly used in Latin America as well as in Celtic music. Due to a special tuning, it often produces a high pitched and sometimes penetrating sound.
Wind Instruments
Quena
A bamboo flute without a mouthpiece, which produces a sweet and melancholic sound. It is a very representative folk instru?ment from the Andean regions.
Zampona
This flute is of indigenous origin to the Andes and very similar to East European panpipes. As the zampona does not have all the notes, it is played by pairs of musicians playing alternate notes. Played mostly in the High Plateaus Region.
Rondador
A wind instrument of Ecuador, made up of varying lengths of thin bamboo pipes simi?lar to a panpipe. It is essentially a soloist's instrument.
Percussion Instruments
Pandereta
Similar to a tambourine, it has metallic disks in the slits of a wooden ring that holds the drum skin on one side only.
Guiro
A bottle gourd instrument of African origin made with a long, hollow gourd. On its sur?face it has indentations that are stroked by a flexible wooden stick. This instrument is played in the tropical regions of Central and South America.
Bombo
A bass drum native to Argentina, it is made with tree bark and covered with goatskin. The two drumsticks are sometimes covered with skin or fabric at the end.
Maracas
An instrument of Central American origin, the maracas are also found in similar forms in other regions of the world. It is made of two small gourds, within which are grains that produce sound when agitated. They are played mostly in the tropical regions of Central and South America.
Peruvian Cajon
The origins of this instrument are not clear; however, it most likely came to South America via Africa. Essentially, it is a wooden percussion box.
Cocos
A percussion instrument somewhat similar to the xylophone, but without a base. It is made up of a collection of wooden pieces, which are stroked with two drumsticks. As it does not have a base, the whole instrument vibrates, resulting in a hollow sound. It is played throughout Central America.
Claves
Two pieces of dried wood that are stroked against each other to produce a dry, high-pitched sound. They are played in the tropi?cal regions of Central and South America.
Scacciapensieri (Reliever of Sorrows) A small metal instrument from the south of Italy that is placed in the mouth, held with the tongue, and pulsated with the fingers. Its peculiar sound is obtained by using the mouth cavity as a resonance box.
Cascabel
A small instrument with a metallic sound. It is made of a small ring and handle with two jingle bells attached. This instrument comes in regional variations.
Caja
An instrument similar to a military drum. It
is played in the north and south of Chile.
Palo De Agua
Instrument made of a dried cactus trunk, which has been hollowed out and has its thorns fully inserted into the trunk. The trunk is closed off at one end, and seeds and small rocks are placed in it. Then, the other end is closed off. It is played by turning it up and down at specific angles. As the seeds and rocks hit against the thorns while descending the cavity, they reproduce the sound of water going down a stream, hence its name "water stick."
Other Percussion Instruments
There are a number of other percussion instruments used by Inti-Illimani made of animal claws, small ceramic or glass beads, dried legumes and small stones perforated in the middle and joined together in bunch?es or in specific arrangements, all producing different sounds.
Other instruments played by Inti-Illimani include standard flutes, piccolo, soprano saxophone, congas, bongos, timbales, sikus and harp.
Paco Pena was born in Cordoba, Spain, and made his first pro?fessional appearance at the age of twelve. On his first visit to London in the late 1960s, he found a receptive audience that greatly encouraged him in his career.
Pefia's New York debut in 1983 was highly acclaimed. A recent return visit drew the following comment from The New York Times: "...this listener cannot recall hearing any guitarist with a more assured mastery of his instrument. His improvisations never waft; they have a structural cohesion that is
all too rare in the impressionistic world of flamenco." Paco Pena frequently tours the US and has won the coveted "Best Flamenco Guitarist of the Year" award for five consec?utive years, voted by readers of America's Guitar Player Magazine.
His work has taken him from Ronnie Scott's Jazz Club to a concert with Victoria de los Angeles at Royal Albert Hall, from Carnegie Hall to the Concertgebouw in Amsterdam. He has shared recitals with John Williams, and, as in tonight's perfor?mance, the famed Chilean group, Inti-Illimani. He has undertaken several tours with Joe Pass, Leo Kottke, Eduardo Falii as well as Elliot Fisk and Pepe Romero. In 1970 Paco Pena decided to broaden his activities and founded his famous flamenco company of dancers, guitarists and singers. The group was an immediate success and it has since appeared at major festivals includ?ing Edinburgh, Adelaide, Amsterdam, Athens, Israel, Istanbul, Singapore and Hong Kong. The company was also acclaimed for its London seasons at the Royal Festival Hall, Sadler's Wells Theatre and The Barbican.
Paco Pena was appointed Professor of Flamenco Guitar at Rotterdam Conservatory (the first such post to be created) in 1985.
The flamenco mass Misa Flamenca was written by Paco Pena. Launched in 1991, it has been recorded and filmed. Its premiere at the Royal Festival Hall in London per?formed by his own flamenco company with the Choir of the Academy of St. Martin in the Fields, was greeted with a standing ova?tion. Misa Flamenca has now been univer?sally acclaimed, at EXPO in Seville, in the United Kingdom, Australia, New Zealand, Poland, Germany, Holland, Belgium, Canada and in the US.
In 1997 Paco Pena received the honor of La Cruz de Oficial de la Orden del Merito Civil (Officer of the Order of Merit) from His Majesty the King of Spain, through the Spanish Ambassador Sr. D. Alberto Aza. In February of 1997 Arte y Pasion had its European premiere at Sadler's Wells at the Peacock Theatre in London. This sell-out four-week run won acclaim from critics and audiences alike. The Paco Pena Flamenco Dance Company toured the world with Arte y Pasion during the following years.
Paco Pena returned in February 1999 to London for the world premiere of his latest production, Musa Ghana. This production was performed in the Peacock Theatre (Sadler's Wells in the West End) for seven weeks, being the longest run ever of a fla?menco show.
Tonight's performance marks Paco Pena's second appearance under UMS auspices.
For three decades Inti-Illimani's music has intoxicated audiences around the globe. Wedded in traditional Latin American roots and playing on more than thirty wind, string and percussion instruments, Inti-Illimani's compositions are a treasure for the human spirit. Their mellifluous syn?thesis of instrumentals and vocals captures sacred places, people's carnivals, daily lives, loves and pains that weave an extraordinary cultural mural.
Known for their open-minded musical approach, the "Intis" had a much different mission in mind when they met in the 1960s at Santiago Technical University to become engineers. Luckily for the world, their love of music encouraged their restless souls to explore the indigenous cultures of Chile, Peru, Bolivia, Ecuador and Argentina. In some of the poorest, purest and most
(Ayamara dialect: Inti Sun; Illimani -A mountain near La Paz, Bolivia and pronounced Inte-E gee-mane)
ancient cultures they discovered Andean music, and in a sense, their roots. Inti-Illimani's music became Latin America's vis?ceral link between pueblo and people, vivi?fied in Nueva Cancion.
In 1973, Chilean President Salvador Allende was deposed while Inti-lllimani was on tour. The young musicians found them?selves without patria or passport. Italy became their home for the next fourteen years; they were warmly welcomed back to Chile in 1988. Many remember Inti-lllimani as South America's ambassadors of human expression. Their unique sound -forged with passion and poetry -became a mantra for peace in a world torn by tur-
moil. They have appeared on Amnesty International stages with Bruce Springsteen, Mercedes Sosa, Sting, Wynton Marsalis and Peter Gabriel.
Of these years Jorge Coulon, in an interview stated:
We have never been so political that it was propaganda. We are not a political group in that sense, but we have always been politically engaged. We have a concept of society and the relationships between human beings, and we try to translate our ideas into our sound, not to be part of one political party or another but in the sense to bring about a better world.
Now thirty-two years and over thirty albums later, Inti-Illimani's music, influ?enced by their numerous encounters with other cultures, has illustriously evolved with powerful poetry and provocative instrumen?tal textures. Recent seasons have seen the
releases of Lejania, Amar de Nuevo and La Rosa de los Vientos (a Cantata for Inti-Illimani, orchestra and cho?rus); tours of Italy, Germany and Chile; a benefit perfor?mance in London for the Victor Jara Foundation with guests Paco Pena, John Williams and Peter Gabriel, and performances at WOMAD USA, with the Vancouver Symphony and the Edmonton Folk Festival. The most nominated artist at the 1999 Entertainment Journalist Association Awards Ceremony in Santiago, Inti-Illimani came away with "Best Group of the Year" and "Best Composer of the Year" (Horacio Salinas Inti's
Musical Director).
And the future
"Collectively," notes Jorge Coulon "we still have our impending dream, a harmo?nious world working peacefully together. Culturally, the group is involved with the creation of the Victor Jara Foundation in Santiago, Chile, which aims to further Latin American's musical roots and educate young musicians from around the world. And pro?fessionally, we've embarked on our next album with the deep sense that thirty years are nothing."
Inti-Illimani has been declared "Honorable Guest" in many cities of the world including: Rome, Venice, Milan, Florence, Naples, London, Washington, Chicago, Albuquerque, Fresno, Berkeley and Minneapolis.
Tonight's performance marks Inti-Illimani's debut under UMS auspices.
UMS
Experience
THE 1999-2000 UMS SEASON
All educational activities are free and open to the public unless otherwise noted ($). For more infor?mation on educational activities, call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764.2538. Activities are also posted on the UMS Website at www.ums.org.
UMS Co-Commission Laurie Anderson Songs and Stories from Moby Dick
Thursday, September 30, 8 p.m. Friday, October 1, 8 p.m. Saturday, October 2, 8 p.m. iPower Center
Video Screening of Laurie Anderson's mome of the Brave (1986) hosted by Linda Kendall, Technologist for the RJ-M Media Union. Wednesday, September 29,6:30 p.m., Ann Arbor District Library, Main Branch, Multipurpose Room, Lower Level. Master of Arts Interview with Laurie lAnderson. Interviewed by Stephen jRush, Professor of MusicDance Technology. Friday, October 1,12 noon, jPower Center. In conjunction with the Stamps' Visiting Arts Program of the JJ-M School of Art and Design, and the Institute for Research on Women and ponder, and the U-M Museum of Art.
Meet the Artist Post-performance dialogue from the stage. Friday and Saturday, October 1-2. Media sponsors WDET and Metro Times.
Detroit Symphony Orchestra
Neeme Jarvi, conductor Sergei Leiferkus, bass-baritone Estonian National Male Choir UMS Choral Union Sunday, October 3,4 p.m. Hill Auditorium Sponsored by Bank One, Michigan. Media sponsor WGTE.
Andrea Marcovicci
Sunday, October 3, 6:30 p.m. Season Opening Dinner Michigan League Ballroom Please call 734.936.6837 for reser?vations and more information.
Amalia Hernandez'
Ballet Folklorico de Mexico
Tuesday, October 5, 8 p.m. Wednesday, October 6, 7 p.m. Power Center
Family Project Make a Mexican Skull Rattle at the Ann Arbor Art Center, Sunday, October 3. Call 734.994.8004 for more information ($). PREP "An Introduction to Mexican Folklore and Folkloric Dance" by Gregorio Luke, Director of the Latin American Museum of Los Angeles. Tuesday, October 5,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Sponsored by Comerica, Inc. with support from AAA Michigan. Media sponsor WDET.
Paco Pena and Inti-lllimani
Friday, October 8, 8 p.m. Michigan Theater Media sponsor WDET.
Lyon Opera Ballet
Mats Ek's Carmen and Solo for Two Saturday, October 16, 8 p.m. Sunday, October 17, 2 p.m. Power Center
PREP "The Lyon Opera Ballet" by Yorgos Loukos, Artistic Director. Saturday, October 16, 7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Drawn to Dance Students from the Ann Arbor Art Center sketch the Lyon Opera Ballet dancers in rehearsal. Saturday, October 16, Power Center. For information and registration, call the Ann Arbor Art Center, 734.994.8004. $
Ballet Master Class with Yorgos Loukos, Artistic Director. Saturday, October 16,10 a.m., Eastern Michigan University. Advanced level students only. To register call EMU Dance Department, 734.487.1211. $ Meet the Artist with Yorgo Loukos, artistic director. Post-performance dialogue from the stage. Saturday, October 16.
Berlin Philharmonic Orchestra
Claudio Abbado, music director Wednesday, October 20, 8 p.m. Hill Auditorium
Lecture and Reception "Why is Schoenberg's Music So Easy to Understand" with Glenn Watkins, Earl V. Moore Professor of Music. Wed, Oct 20, 5 p.m., U-M Institute for the Humanities. In conjunction with the Center for European Studies. Presented with the generous support of Wilhelm Kast and Friends of the Berlin Philharmonic Orchestra. Media sponsor WGTE.
Moondrunk
Da Camera of Houston Conceived by Sarah Rothenberg ChoreographyStage Direction
by John Kelly Lucy Shelton, soprano Friday, October 22, 8 p.m. Power Center
The King's Singers and Evelyn Glennie, percussion
Saturday, October 23, 8 p.m. Hill Auditorium Co-sponsored by O'Neal Construction, Inc. and Elastizell. Media sponsor WDET.
Schoenberg and His Kind Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, October 24, 4 p.m. Rackham Auditorium Complimentary Admission
Sankai Juku Hiyomeki
Wednesday, October 27, 8 p.m. Power Center PREP "Ecstatic Meditation: The Performance Tradition of Sankai Juku" by Kate Remen, UMS Education and Audience Development Manager. Wednesday, October 27,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Media sponsor WDET.
Bill Frisell's New Quartet
Thursday, October 28, 8 p.m.
Power Center
Meet the Artist Post-performance
dialogue from the stage.
Media sponsors WEMU and WDET.
Buena Vista Social Club
presents
Orquesta Ibrahim Ferrer & Ruben Gonzalez y su Grupo
Saturday, October 30, 8 p.m. Hill Auditorium
PREP "The Cuban Son, its Origins and Evolution; or, Why is Cuban Music so Much Fun" by Dr. Alberto Nacif, Cuban musicologist and percussionist. Saturday, October 30, 7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Presented with the generous support of Charles Hall. Media sponsors WEMU and Metro Times.
Emerson String Quartet
Friday, November 5, 8 p.m.
Rackham Auditorium
Meet the Artist Post-Performance
dialogue from the stage.
Sponsored by Edward Surovell Realtors.
American String Quartet
Beethoven the Contemporary Sunday, November 7, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Les Arts Florissants Henry Purcell's King Arthur
William Christie, conductor
Wednesday, November 10,8 p.m.
Hill Auditorium
PREP "Purcell's Music for the Stage"
with Ellwood Derr, U-M Professor of
Music. Wednesday, November 10,7 p.m.,
Michigan League, Vandenberg Room,
2nd Floor.
Presented with the generous support of
Maurice and Linda Binkow. Media
sponsor WGTE.
Theatre of Voices
Paul Hillier, director
Friday, November 12, 8 p.m.
St. Francis of Assisi Catholic
Church
Presented with the generous support of
Robert and Pearson Macek.
Paco de Lucia and Septet
Friday, November 19, 8 p.m. Hill Auditorium Sponsored by Parke-Davis Pharmaceutical Research. Media spon?sors WEMU and Metro Times.
KREMERata BALTICA
Gidon Kremer, violin Sunday, November 21,4 p.m. Rackham Auditorium Sponsored by Deloitte & Touche.
The Harlem Nutcracker Donald ByrdThe Group
Friday, November 26-Sunday, December 5 Detroit Opera House Co-presented with the Detroit Opera House and The Arts League of Michigan and presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
Handel's Messiah UMS Choral Union Ann Arbor Symphony Orchestra
Tamara Matthews, soprano Ewa Podles, contralto Glenn Siebert, tenor Andrew Wentzel, bass-baritone Thomas Sheets, conductor Saturday, December 4, 8 p.m. Sunday, December 5, 2 p.m. Hill Auditorium Presented with the generous support of Jim and Millie twin.
Boys Choir of Harlem
Thursday, December 9, 8 p.m. Hill Auditorium Sponsored by Thomas B. McMullen Co. A Heartland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Frederica von Stade, mezzo-soprano
Martin Katz, piano Friday, December 10, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Services. Friday, December 10, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Sponsored by National City Bank. Media sponsor WGTE.
A Lutheran Christmas
Celebration (c. 1620) Gabrieli Consort & Players
UMS Choral Union Paul McCreesh, director Tuesday, December 14, 8 p.m. St. Francis of Assisi Catholic Church
The Romeros
Sunday, January 9, 4 p.m. Rackham Auditorium
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and showing of Three, a film by Isaac lulien featuring Bebe Miller and Ralph Lemon. Friday, January 14,7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Department. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance. Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A.
PREP "Identity and Process in Bebe Miller's Choreography" by Kate Remen, UMS Education and Audience Development Manager. Saturday, January 15, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance:" a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. Media sponsors WDETand Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support from Republic Bank. Media sponsors WEMU and WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Schlime, piano UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium Center for Russian and Eastern European Studies Symposium "Scriabin and the End of Time" Sunday, January 23, Rackham Auditorium and Media Union. Full schedule at http:www-personal.umich. eduagreenesymposium.html or call 734.764.0351.
CREES Mini-Course on Fin de Siede Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www-personal.umich. eduagreenesymposium.html or call 734.764.0351.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano
Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre, U-M Professor of Music and Musicology. Saturday, January 29, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Media sponsor WGTE.
Mozart and Friends -
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Elwood Derr, director Sunday, January 30,4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music.
Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music
America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center
Master of Arts Interview with Meredith Monk interviewed by Beth Genn?, U-M Professor of Dance, Dance History and Art. Tuesday, February 8, 12 noon. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, and the U-M Department of Dance. PREP "Goddess Meredith: The Interdisciplinary Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9, 7 p.m., Michigan League Koessler Library (3rd Floor). Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium
Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10,3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies.
Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times.
UMS Co-Commission Martha Clarke Vers la flamme
Christopher O'Riley, piano Friday, February 11,8 p.m. Power Center
Master of Arts Interview with Martha Clarke, interviewed by Susan Nisbett, Dance and Music reviewer for the Ann Arbor News. Friday, February 11,12 p.m., Betty Pease Studio, U-M Dance Department, 2nd Floor. In conjunction with the Institute for Research on Women and Gender, Center for Education of Women, and the U-M Department of Dance. PREP "Interdisciplinary Inspiration: Martha Clarke's Choreographic Trajectory" by Kate Remen, UMS Education and Audience Development Manager. Friday, February 11,7 p.m., Michigan League, Vandenberg Room, 2nd Floor.
Meet the Artist Post-performance dialogue from the stage. Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Department, Studio A.
Anne-Sophie Mutter, violin Lambert Orkis, piano
Saturday, February 12, 8 p.m.
Hill Auditorium
Sponsored by KeyBank. Media sponsor
WGTE.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director Sunday, February 13, 8 p.m. St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium Master of Arts Interview of Murray Perahia by Susan Isaacs Nisbett, music and dance writer for the Ann Arbor News. Tuesday, February 15,7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance)
Saturday, February 19, 8 p.m.
Power Center
PREP "Opera 101 for Adults" with
Helen Siedel, UMS Education
Specialist. Friday, February 18,6:45
p.m., Michigan League, Hussey Room,
2nd Floor.
"PREP for Kids" with Helen Siedel,
UMS Education Specialist. Saturday,
February 19, 1 p.m., Michigan League,
Koessler Library, 3rd Floor.
Sponsored by Parke-Davis Pharmaceutical
Research.
Christian Tetzlaff, violin
Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mandinka Epic
Jean Pierre Leurs, director
Thursday, March 9, 8 p.m.
Friday, March 10, 8 p.m.
Power Center
Master Classes Saturday, March 11
at Washtenaw Community College and
U-M Dance Department. Please call
734.647.6712 for times.
Sponsored by Detroit Edison Foundation.
Media sponsors WEMU and Metro
Times.
The English Concert Trevor Pinnock, conductor harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro Ali Akbar Khan
accompanied by
Zakir Hussain
Friday, March 17, 8 p.m.
Hill Auditorium
Sponsored by Megasys Software Services,
Inc. Media sponsor WDET.
Oscar Peterson Quartet
Saturday, March 18, 8 p.m. Hill Auditorium PREP with Linda Yohn, Programming Director of WEMU. Saturday, March 18, 7 p.m. Michigan League, Hussey Room, 2nd Floor.
Master of Arts Interview with Oscar Peterson, jazz piano. Saturday, March 18,12 noon, Kerrytown Concerthouse, 415 N. Fourth Avenue, Ann Arbor. In conjunction with Kerrytown Concert House, U-M Department of Jazz Studies, and Southeastern Michigan Jazz Association, and the Center for Afroamerican and African Studies. Sposored by Arbor TemporariesPersonnel Systems, Inc.Arbor Technical Staffing. Media sponsor WEMU.
American String Quartet
Beethoven the Contemporary Sunday, March 19, 4 p.m. Rackham Auditorium Meet the Artist Post-performance dia?logue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Service. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Forgiveness
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Presented with the generous support of Dr. Herbert Sloan.
Mammas
A Mediterranean Women's
Music Summit
Saturday, March 25, 8 p.m. Michigan Theater Sponsored by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium Sponsored by Dow Automotive.
Moscow Virtuosi
Vladimir Spivakov, conductor Inva Mula, soprano Friday, March 31,8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 p.m. Hill Auditorium Sponsored by Pepper Hamilton LLP. Media sponsor WGTE.
The Watts Prophets
with special guest Toni Blackman Saturday, April 8, 8 p.m. Michigan Theater Open Rehearsal at the Michigan Theater.
Hip-Hop Panel Discussion with the Watts Prophets, Toni Blackman, and Detroit Hip-Hop artists. Wednesday, April 5. In conjunction with the Center for Afroamerican and African Studies and the Institute for Research on Women and Gender, and the King Chavez Parks Visiting Professor's Program and the Office of the Provost. Toni Blackman is presented in conjunc?tion with the Institute for Research on Women and Gender and the Center for Afroamerican and African Studies. Media sponsors WEMU and Metro Times.
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Kate Remen, UMS Education and Audience Development Manager. Tuesday, February 1, 12 p.m., U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Department of Education and Audience Development. Wednesday, April 12,12 noon, U-M Department of Dance, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance.
PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience. Wednesday, April 12, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre Vocal Master Class with Susanne Mentzer. Friday, April 14, U-M School of Music.
Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Orchestra
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16, 4 p.m. Hill Auditorium PREP Sunday, April 16,3 p.m., Michigan League, Koessler Library, 3rd Floor.
Presented with the generous support of Carl and Isabelle Braucr.
Lincoln Center Jazz Orchestra Dance Tour
with Wynton Marsalis Saturday, April 22, 8 p.m. EMU Convocation Center
Swing Dance Lesson with the Lincoln Center Jazz Orchestra Dancers. Saturday, April 22,6:30 p.m., Eastern Michigan University Convocation Hall. Sponsored by Hudson's Project Imagine. Presented with support from the Vila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
ord Honors Program 1 [onorees
1996
Van
Cliburn
Jessye Norman
1998 Garrick Ohisson
1999 The
Canadian Brass
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 pays tribute to and presents the artist with the UMS Distinguished Artist Award,
and hosts a dinner and party in the artist's honor. This season's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
EDUCATION & AUDIENCE DEVELOPMENT
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and 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.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's special, one-hour Family Performances include:
? Amalia Hernandez' Ballet Folklorico de Mexico
? Boys Choir of Harlem
Jazz at Lincoln Center Sextet
New York City Opera National Company: The Barber of Seville
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children.
Master of Arts Interview Series
Now entering its fourth year, this series is an opportunity to showcase and engage our artists in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with:
Laurie Anderson
? Bebe Miller
Meredith Monk
Doudou D'Diaye Rose
Martha Clarke
Murray Perahia
Trisha Brown
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, performance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage.
Residency Activities
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, participatory workshops, clinics, visit?ing scholars, seminars, community projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 19992000 season are with:
? Lyon Opera Ballet
American String Quartet
? Russian National Orchestra
? Jazz at Lincoln Center Sextet
Chen Shi-Zheng's Forgiveness
? The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The Mandinka Epic
Trisha Brown Company
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Developing Literacy Skills Through Music"
"Bringing Literature to Life"
"Making History Come Alive"
"Reaching the Kinesthetic Learner Through
Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
"Jazz in the Classroom" with the Jazz at
Lincoln Center Sextet ? "Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. 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 calling 734.647.8009. UMS members receive reservation priority.
Wednesday, October 20
Berlin Philharmonic Orchestra
Saturday, October 23
The King's Singers and Evelyn Glennie This dinner will be held in the Stearns' Room in Hill Auditorium.
Wednesday, November 10
Les Arts Florissants Henry Purcell's King Arthur
Thursday, January 20
Yo-Yo Ma ? Monday, January 24
Russian National Orchestra
Saturday, February 5
Gothenburg Symphony Orchestra
Saturday, February 12
Anne-Sophie Mutter
Wednesday, February 16
Murray Perahia
Saturday, March 11
The English Concert
Saturday, April 1
Czech Philharmonic Orchestra
Please Note: All dinners are scheduled prior to performances on the Choral Union Series except for the Saturday, October 23 dinner prior to The King's Singers. This performance is part of the Ann Arbor Favorites Series.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
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 prior?ity reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant 300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance 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. All events are at 8 p.m. with dinner prior to the performance.
Sat. Jan. 15 Bebe Miller Company Sat. Jan. 29 Barbara Hendricks, soprano Fri. Feb. 4 Jazz at Lincoln Center Sextet
Sat. Feb. 5 Gothenburg Symphony Orchestra
Sat. Feb. 12 Anne Sophie Mutter, violin Sat. Feb. 19 New York City Opera National
Company: The Barber of Seville Fri. Mar. 10 Ballet d'Afrique Noire:
The Mandinka Epic
Fri. Mar. 17 AH Akbar Khan and Zakir Hussain Sat. Mar. 25 Mammas: A Mediterranean
Women's Music Summit Fri. Apr. 14 Australian Chamber Orchestra
Package includes valet parking at the hotel, overnight accommodations 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 and prices
Sat. Oct. 30 Buena Vista Social Club presents Orquesta Ibrahim Ferrer & Ruben Gonzdlez y su Grupo
Fri. Nov. 19 Paco de Lucia and Septet
Sun. Dec. 5 Handel's Messiah
(post-performance dinner)
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National Company: The Barber of Seville
Sat. Mar. 18 Oscar Peterson Quartet
Sat. Apr. 1 Czech Philharmonic Orchestra
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
THE UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
Azure
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at www.azureusa.com.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The Earle
121 West Washington 734.994.0211 Provincial French and Italian dishes served in a casually elegant cellar setting. Wine list of over 1,000 selections. Live music nightly. Private rooms seat 8-30.
Gandy Dancer 401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
Mild
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 734.769.5960 As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines-by-the-glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
Weber's Restaurant
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS
Support
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 activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
ADVISORY COMMITTEE
Now forty-two members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and assisting in fundraising. Through an annual auction, season opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $250,000 to UMS this sea?son. Additionally, the Committee's hard work will be in evidence this fall when it publishes BRAVO!, a cookbook that traces the history of UMS through the past 120 years, with recipes submitted by artists who have per?formed under our auspices. If you would like to become involved in this dynamic group,
call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
SPONSORSHIP & ADVERTISING
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
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 performance experi?ences. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits
]oin Us
Because Music Matters
UMS members have helped to make possible this 121st season of distinctive concerts. Ticket revenue covers only 61 of our costs. The generous gifts from our contributors continue to make the dif?ference. 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.
that accrue from your investment. For exam?ple, 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, please call 734.647.1176.
INTERNSHIPS
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
COLLEGE WORK-STUDY
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
USHERS
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 275 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific venue (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. M The list below represents names of current donors as of July 31, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. ? UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Carl and Isabelle Brauer Dr. Kathleen G. Charla Dr. and Mrs. James Irwin The Lohr Family Charlotte McGeoch Randall and Mary Pittman Herbert Sloan and several anonymous donors
Businesses
Aetna Corporation
Bank One
Brauer Investments
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Arts Midwest
The Ford Foundation
John S. and James L. Knight
Foundation Lila Wallace Reader's
Digest Audiences for the
Performing Arts Network Lila Wallace Reader's Digest
Arts Partners Program Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
MAESTROS
Individuals
Herb and Carol Amster Ronnie and Sheila Cresswell Robert and
Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and
Amnon Rosenthal Edward Surovell and
Natalie Lacy Ronald and Eileen Weiser
Businesses
Arbor Temporaries Personnel SystemsArbor Technical Staffing, Inc.
Comerica Deloitte & Touche Elastizell Corp of America I. B. M. KeyBank
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Edward Surovell Realtors
Foundations
Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Thomas B. and Deborah McMullen
Businesses
Beacon Investment Company Holnam, Inc. Thomas B. McMullen Company
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna
Romney David G. Loesel Sally and Bill Martin Natalie Matovinovic Joe and Karen Koykka O'Neal John and Dorothy Reed Loretta M. Skewes Carol and Irving Smokier Marina and Robert Whitman
Businesses
Bank of Ann Arbor
Butzel Long Attorneys
Cafe Marie
CFI Group
Chelsea Milling Company
Dow Automotive
Miller, Canfield, Paddock,
and Stone
O'Neal Construction Visteon
Foundations
Chamber Music America Institute for Social Research THE MOSAIC FOUNDATION (ofR.&P.Heydon)
LEADERS
Individuals
Martha and Bob Ause Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Jim Botsford and Janice Stevens Botsford
Mr. and Mrs. William Brannan Dr. Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Kathleen and Dennis Cantwell Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jack and Alice Dobson Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Otto and Lourdes E. Gago Debbie and Norman Herbert Keki and Alice Irani Robert and Pearson Macek Robert and Ann Meredith George and Barbara Mrkonic Murray Pitt John Psarouthakis Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Susan B. Ullrich Don and Carol Van Curler Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses
Alcan Automotive Products
AAA Michigan
Blue Nile
Joseph Curtin Studios
Dennis Dahlmann, Inc.
ERIM International Inc
Ideation, Inc.
Megasys Software Services, Inc.
Pepper, Hamilton & Scheetz
Republic Bank Ann Arbor
Sesi Investment
Target Stores
Foundations
Ann Arbor Area Community Foundation
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
Dr. and Mrs. Robert G. Aldrich
Alf Studios
Lloyd and Ted St. Antoine
Max K. Aupperle
Emily W. Bandera, M.D.
Peter and Paulett Banks
A. J. and Anne Bartoletto
Karen and Karl Bartscht
Kathy Benton and Robert Brown
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Bruce and Jean Carlson Jean and Kenneth Casey Janet and Bill Cassebaum George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Howard J. Cooper Mary K. Cordes Peter and Susan Darrow Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming James and Anne Ford Ilene H. Forsyth Michael and Sara Frank Edward P. Frohlich
Principals, continued
Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol
Barbour
Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard
Greene Frances Greer Alice Berberian
Haidostian
Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler 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 Lee E. Landes Mr. and Mrs. Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis John and Cheryl MacKrell Judy and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs.
Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Lester and Jeanne Monts Grant W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Dick and Norma Sarns Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel J. Barry and
Barbara M. Sloat Steve and Cynny Spencer Judy and Paul Spradlin Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Lois A. Theis
Dr. Isaac Thomas III
and Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Elise and lerry Weisbach Roy and JoAn Wetzel Paul and Elizabeth Yhouse
Businesses
Consulate Gen. of the
Federal Republic of
Germany General Automotive
Corporation Pan Tropical, LTD Red Hawk Bar and
GrillZanzibar Shar Music Company Standard Federal Bank STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation
The Lebensfeld Foundation Montague Foundation The Power Foundation
BENEFACTORS Individuals
M. Bernard Aidinoff Robert P. Ainsworth Michael and Suzan Alexander Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold Aronoff James R. Baker, Jr., M.D.
and Lisa Baker Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and
Maureen Foley
Jane M. Bloom Elizabeth and Giles G. Bole Charles and Linda Borgsdorf Professor and
Mrs. Dale E. Briggs David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn Campbell Jean W. Campbell George R. Carignan Jim and Priscilla Carlson Mrs. Raymond S. Chase James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford Mary R. and John G. Curtis Mr. and Mrs.
William H. Damon III John and Jean Debbink James M. Deimen Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs.
Stephen W. Director Mr. and Mrs.
Raymond D. Dornbusch Charles and Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and lean Fine Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb
Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Dr. John and Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Anne Vance Hatcher
Nina E. Hauser
Icannine and Gary Hayden
Fred and Joyce Hershenson
Mrs. W.A. Hiltner
Mr. and Mrs. William B.
Holmes
David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Stephen Josephson and
Sally Fink
Robert L and Beatrice H. Kahn Dr. and Mrs. Mark S. Kaminski Richard L. Kennedy Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Rhea and Leslie Kish Hermine R. Klingler Philip and Kathryn Klintworth Jim and Carolyn Knake Barbara and Charles Krause Samuel and Marilyn Krimm Bud and Justine Kulka Jill Latta and David S. Bach John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Richard LeSueur Pat and Mike Levine Myron and Bobbie Levine Carolyn and Paul Lichter Richard and Stephanie Lord Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen Mark Mahlberg Suzanne and Jay Mahler Edwin and Catherine Marcus Chandler and Mary Matthews Margaret W. Maurer Thomas B. and
Deborah McMullen Bernice and Herman Merte Walter and Ruth Metzger Leo and Sally Miedler Myrna and Newell Miller John and Michelle Morris Brian and Jacqueline Morton Martin Neuliep and
Patricia Pancioli Len and Nancy Niehoff Dr. and Mrs. Frederick C O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Stephen and Bettina Pollock
Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quartern 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 Mary R. Romig-deYoung Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and Charles
Schmitter
Edward and Jane Schulak Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and Scott K.
Simonds
Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Gus and Andrea Stager Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter James L. and Ann S. Telfer John D. Tennant and
Barbara Campbell Scott Bennett Terrill Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Walter E Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Dr. Steven W. Werns B. Joseph and Mary White Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams
Frank E. Wolk
J. D. Woods
David and April Wright
Phyllis B. Wright
Don and Charlotte Wyche
Mr. and Mrs. Edwin H. Young
Businesses
The Barfield CompanyBartech Detroit and Canada Tunnel
Corporation
Detroit Swedish Council, Inc. Edwards Brothers, Inc. Guardian Industries
Corporation Quinn EvansArchitects Charles Reinhart Company Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs. David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Scott Beaman Astrid B. Beck and
David Noel Freedman Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Ronald J. Bienkowski Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Paula L. Bockenstedt and
David A. Fox
Ron and Mimi Bogdasarian Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. C. Paul Bradley James and Jane Bradner Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Olin L. Browder
Morton B. and Raya Brown Dr. and Mrs. Donald T. Bryant Trudy and Jonathan Bulklcy Arthur and Alice Burks Michael and Patricia Campbell Margot Campos Marshall F. and lanice L. Carr Jeannette and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Nancy Cilley
Charles and Lynne Clippert Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Edward J. and Anne M. Comeau Lolagene C. Coombs Kathleen Cooney and
Gary Faerber Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford George H. and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Constance Crump and
Jay Simrod
Charles and Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco Ellwood and Michele Derr Louis M. DeShantz Marnee and John DeVine Elizabeth Dexter Macdonald and Carolin Dick Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Kathy and Ken Eckerd Martin and Rosalie Edwards loan and ! mil Engel Patricia Enns
Susan Feagin and John Brown Reno and Nancy Feldkamp Karl and Sara Fiegenschuh Dr. James F. Filgas Carol Finerman 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 Howard and Margaret Fox Ronald Fracker
Deborah and Ronald Freedman Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld
Associates, continued
Gwyn and Jay Gardner Professor and Mrs.
David M. Gates Wood and Rosemary Geist Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin 1. Goldstein and
Marty Mayo Enid M. Gosling Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Daphne and Raymond Grew Lauretta and lim Gribble Carleton and Mary Lou Griffin Bob and Jane Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefher and
Cynthia J. Stewart Susan and John Halloran Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffner J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hinman and
Elizabeth A. Young Kenneth and Joyce Holmes Ronald and Ann Holz Jack and Davetta Horner Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Hazel Hunsche
Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and Denise Kantner David and Sally Kennedy Frank and Patricia Kennedy Emily and Ted Kennedy Don and Mary Kiel Tom and Connie Kinnear Paul and Dana Kissner James and Jane Kister Dr. David E. and
Heidi Castleman Klein Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin David and Martha Krehbiel Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza
lohn and Theresa Lee
Mr. and Mrs. Fernando S. Leon
Harry and Melissa LeVine
Mrs. Jacqueline H. Lewis
Leons and Vija Liepa
Alene and Jeff Lipshaw
Vi-Cheng and Hsi-Yen Liu
Peter and Sunny Lo
Naomi E. Lohr
Dan and Kay Long
Leslie and Susan Loomans
Charles and ludy Lucas
Edward and Barbara Lynn
Donald and Doni Lystra
Pamela J. MacKintosh
Sally C. Maggio
Mr. and Mrs. Stephen Maggio
Virginia Mahle
Melvin and Jean Manis
Marcovitz Family
Nancy and Philip Margolis
Geraldine and Sheldon Markel
Irwin and Fran Martin
Margaret E. McCarthy
Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Helen Metzner Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and Barbara Murphy Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Barry Nemon and
Barbara Stark-Nemon Richard S. Nottingham Steve and Christine Nowaczyk Julie and Dave Owens David and Andrea Page Mr. and Mrs. William B. Palmer Helen I. Panchuk Dr. Owen Z. and
Barbara Perlman Jim and Julie Phelps 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 Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince ). Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett
Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Ina and Terry Sandalow Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Drs. Edward and Virginia Sayles Sue Schroeder
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A. Showalter Irene and Oscar Signori Alida and Gene Silverman Sandy and Dick Simon Robert and Elaine Sims John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L. Grasselli Sprankle Francyne Stacey Sally A. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Joe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C. Vassell Carolyn and Jerry Voight John and Maureen Voorhees Virginia Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner
Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller Walter L. Wells Marcy and Scott Westerman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses
The Ann Arbor District Library
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Coffee Express Co.
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Equipment Company Alice Simsar Fine Art, Inc. A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
Foundations
sliitlni.ni Foundation Trust
(Richard Levey) The Sneed Foundation, Inc.
ADVOCATES
Individuals
John R. Adams Tim and Leah Adams Kazu and Nobuko Akitomo Gordon and Carol Allardyce James and Catherine Allen Richard and Bettye Alien Barbara and Dean Alseth Nick and Marcia Alter Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Joseph and Annette Anderson Drs. James and
Cathleen Culotta-Andonian Timothy and Caroline Andrcsen Dr. and Mrs. Dennis L. Angellis Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arncson Mr. and Mrs. Lawrence E. Arnctt Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperlc
lohn and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and lerald Bachman lane Bagchi
Chris and Heidi Bailey Prof, and Mrs. I. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and (oann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Balon Drs. Nancy Barbas and
Jonathan Sugar lohn R. Bareham David and Monika Barera Maria Kardas Barna loan W. Barth Robert and Carolyn Bartle Dorothy W. Bauer Mrs. Jere Bauer
Mr. and Mrs. Gilbert M. Bazil, Ir. Kenneth C. Beachler lames and Margaret Bean Mr. and Mrs. John C. Beatty lames M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Beckley and lytte Dinesen Robert B. Beers Steve and Judy Bemis Walter and Antje Benenson
Merete and
Erling Blondal Bengtsson loan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Jim Bergman and Penny Hommel Abraham and Thelma Berman Harvey and
Rochelle Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Harvey Bertcher Mark Bertz
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Mr. and Mrs. John M. Brucger Mrs. Webster Brumbaugh Elizabeth A. Buckner
Isabel Buckner Dr. Frances E. Bull
Robert and Carolyn Burack Marilyn Burhop Tony and Jane Burton Joanne Cage
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Thomas H. Haug Laura Cathcart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chesler Tim Cholyway
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Rosemarie Hester Sunil and Mcrial Das DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. Arthur W. Davidgc Laning R. Davidson, M.D. Mr. and Mrs. Roy C. Davis Dr. and Mrs. Raymond F. Decker William S. Demray George and Margaret Demuth Mona C. DeQuis and
Christine L. Cody Lloyd and Genie Dethloff Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DeVine Paul Dodd and Charlotte Dodd Elizabeth and Edward R, Doezema Jean Dolega
Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Dick and Jane Dorr Thomas Downs
Roland and Diane Drayson Harry M. and Norrene M. Drefifs Dale R. and Betty Berg Drew Cecilia and Allan Dreyfuss Janet Driver and Daniel Hyde John Dryden and Diana Raimi Ronald and Patricia Due Rhetaugh G. Dumas Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Peter and Grace Duren Edmund and Mary Durfee John W. Durstine George C. and Roberta R. Earl Charlotte K. Eaton Jacquelynne S. Eccles Morgan H. and Sara O. Edwards Rebecca Eisenberg and
Judah Garber Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and Jean Lawton Genevieve Ely
Michael and Margaret Emlaw Mackenzie and Marcia Endo Fred A Erb Roger E. Erickson Leonard and Madeline Eron Dorothy and Donald Eschman Eric and Caroline Ethington Barbara Evans Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Thomas and Julia Falk Phil and Phyllis Fellin Larry and Andra Ferguson Dr. and Mrs. James Ferrara Yi-tsi M. and Albert Feuerwerker Susan Filipiak
Swing City Dance Studio Clay Finkbeiner Marilyn Finkbeiner Davia A. Finn C. Peter and Bev Fischer Gerald B. and Catherine L Fischer Pat and Dick Fischer Barbara and James Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mitchell and Carol Fleischer Kathleen and Kurt Husky George and Kathryn Foltz Jason I. Fox
William and Beatrice Fox Lynn A. Frceland Lucia and Doug Freeth Sophia L. French Marilyn Friedman Gail Fromes
Mr. and Mrs. Charles C. Froning Jerry Frost
Philip And Rence Frost Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage lane Galantowicz Dr. Thomas H. Galantowicz Mrs. Don Gargaro lack I. and Helen Garris C. Louise Garrison Janet and Charles Garvin Allan and Harriet Gclfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gcrstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas Beverly Jeanne Giltrow Gary and Rachel Glick Robert and Barbara Gockel
Albert L. Goldberg Ed and Mona Goldman Steve and Nancy Goldstein Beryl and David Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Jesse and Anitra Gordon Charles Goss
James W. and Maria J. Gousseff Michael L. Gowing Britt-Marie Graham Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Maryanna and
Dr. William H. Graves, III Isaac and Pamela Green Victoria Green and
Matthew Toschlog Deborah S. Greer G. Robinson and Ann Gregory Bill and Louise Gregory Linda and Roger Grekin Mark and Susan Griffin Werner H. Griik Mrs. AUee Grillot Marshall J. and Ann C. Grimm Marguerite M. Gritenas Betty and Chuck Gross Laurie Gross
Richard and Marion Gross Frederick and Iris Gruhl David and Kay Gugala Mr. and Mrs. Lionel Guregian Margaret Gutowski and
Michael Marietta Claribel Halstead Sarah I. Hamcke Mrs. F. G. Hammitt Dora E. Hampel Gerald T. and Betty K. Hansen Lourdes S. Bastos Hansen Mary C. Harms
Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Saratn and Joan Harris Martin D. and Connie D. Harris Susan S Harris
Stephen Haskin and Karen Soskin Elizabeth C. Hassinen Ruth Hastie
George and Lcnore Hawkins Mr. and Mrs. Edward J. Hayes Anne Heacock Ken and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Hcitler Sivana Heller
Paula Hencken and George Collins Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hcntschcl Bruce and Joyce Herbert Ada Herbert Hiroshi Higuchi Stuart and Barbara Hilbert Herb and Dec Hildebrandt Lorna and Mark HUdcbrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Anne Hoffand George Villec Robert and Frances Hoffman Robert and Claire Hogikyan John and Donna Hollowed Howard L. and Pamela Holmes Hisato and Yukiko Honda Arthur G. Homer, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga C. Hover
Advocates, continued
Drs. Richard and Diane Hawlin John I. Hritz, Jr. Hubert and Helen Huebl Jude and Ray Huetteman Mr. and Mrs. William Hufford Joanne Winkleman Hulce Kenneth Hulsing Joyce M. Hunter Mr. and Mrs. David Hunting Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imber Diane C. Imredy Edward C. Ingraham Margaret and Eugene Ingram Ann K. Irish Sid and Harriet Israel Mr. and Mrs. Donald E. Jahncke Marilyn G. Jeffs
Professor and Mrs. Jerome Jclinek Keith and Kay Jensen Lennart and Karin Johansson Elizabeth Judson Johnson Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Tom and Marie Juster Mary B. and Douglas Kahn Allyn and Sherri Kantor Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Alex and Phyllis Kato Barbara Kaye and John Hogikyan Julia and Philip Kearney William and Gail Keenan Frank and Karen Keesccker Robert and Frances Keiser Janice Keller James A. Kelly and
Mariam C. Noland John B. Kennard
Linda Atkins and Thomas Kenney George L. Kenyon and
LucyA.Waskell Paul and Leah Kileny William and Betsy Kincaid Shira and Steve Klein Peter and Judith Kleinman Ruth and Thomas Knoll Patricia S. Knoy Rosalie and Ron Koenig Mr. and Mrs.
Richard Krachenberg Jean and Dick Kraft Ron and Barbara Kramer Doris and Don Kraushaar Sara Kring William G. Kring Amy Sheon and Marvin Krislov Bert and Geraldine Kruse Danielle and George Kuper Dr. and Mrs. Richard A. Kutcipal William and Marie Kuykendall Christine A. LaBelle Mr. and Mrs. Seymour Lampcrt Henry and Alice Landau Pamela and Stephen Landau Janet Landsberg LaVonne Lang Patricia M. Lang Joan Larsen and Adam Pritchard Carl F. and Ann L La Rue Beth and George Lavoic Ruth Lawrence and Ari Naimark Chuck and Linda Leahy Cyril and Ruth Leder Dr. Peter J. Lee and
Mrs. Clara Hwang Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Richard and Barbara Lcitc Ron and Lcona Leonard Sue Leong
Margaret E. Leslie
David E. Lcvine
George and Linda Levy
Tom and Judy Lewis
Mark Lindley and Sandy Talbott
Ronald A. Lindroth
Dr. and Mrs. Richard H. Lineback
Rod and Robin Little
Jackie K. Livesay
Larry and Shirley Loewenthal
Julie M. Loftin
Jane Lombard
Ronald Longhofcr and
Norma McKenna Armando Lopez Rosas Helen B. Love Donna and Paul Lowry Karen Ludema Pamela and Robert Ludolph Cynthia Lunan Elizabeth L. Lutton Susan E. Macias Marilyn MacLean Walter Allen Maddox Hans and Jackie Maier Deborah Mala mud and
Neal Plotkin Karl D. Malcolm, M.D. Claire and Richard Malvin Pearl Manning
Ken Marblestone and Janisse Nagel Thomas E. and Melissa S. Mark Lee and Greg Marks Alice K. and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Martd Vincent and Margot Massey Jim and Ann Mattson Mr Glenn D Maxwell John M. Allen and
Edith A. Maynard Susan C. Guszynski and
Gregory F. Mazure LaRuth C. McAfee Richard and Florence McBrien Maurice H. McCall Thomas and Jackie McClain David G. McConnell Dores M. McCree Dr. and Mrs. James L. McGauley Cornelius and Suzanne McGinn Michael G. McGuire Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver Bill and Ginny McKeachie Daniel and Madelyn McMurtric Kevin D. McVeigh Nancy and Robert Meader Marilyn J. Meeker Allen and Marilyn Menlo Warren and Hilda Merchant In grid Merikoski Debbie and Bob Merion Hcly Merlc-Benner Jill McDonough and
Greg Mernman Russ and Brigette Merz Julie and Scott Merz Henry D. Mcsser Carl A. House Robert and Bcttie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Shirley and Bill Meyers Helen M. Michaels Carmen and Jack Miller John Mills
Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga A. Moir
Dr. and Mrs. William G. Moller, Jr. Bruce and Ann Moln Patricia Montgomery Rosalie E. Moore Michael Moran and Shary Brown Arnold and Gail Morawa Jane and Kenneth Moriarty
fames and Sally Mueller
Peeter and Judith Muhlberg
Tom and Hedi Mulford
Bernhard and Donna Muller
Marci Mulligan and Katie Mulligan
Lora G. Myers
Rosemarie Nagel
Penny H. Nasatir
Edward C. Nelson
Arthur and Dorothy Nesse
John and Ann Nicklas
Susan and Richard Nisbett
Gene Nissen
Laura Nitzberg and Thomas Carli
Dr. Nicole Obregon
Patricia O'Connor
C W. and Sally O'Dell
Cherie M. Olsen
Joan and Bill Olsen
Nels R. and Mary H. Olson
J. L Onclev
Karen Koykka O'Neal and
Joe O'Neal
Robert and Elizabeth Oncal Kathleen I. Operhall Elisa Ostafin and Hossein Kcshtkar Lillian G. Ostrand Mr. and Mrs. James R. Packard Jenny Palmer Drs. Sujit and Uma Pandit William and Hedda Panzer Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Frank and Arlene Paslcy Brian P. Patchen Maria and Ronald J. Patterson Nancy K. Paul Robert and Arlene Paup Patricia D. Pawelski Edward J. Pawlak Elizabeth M. Payne Lisa A. Payne William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and Ann Marie Petach Roger and Grace Peterson Frank and Nelly Petrock Douglas and Gwendolyn Phclps C. Anthony and Marie B. Phillips Mr. and Mrs. Frederick R. Pickard Nancy S. Pickus Robert and Mary Ann Pierce Daniel Piesko
Dr. and Mrs. James Pikulski Lana and Henry Pollack Mary Alice Power Robert and Mary Pratt Ernst Pulgram Dr. G. Robina Quale Mr. and Mrs. Mitchell Radcliff Alex and Natasha Raikhel Jeanne Raislcr and
Jonathan Allen Cohn Patricia Randle and James Eng Alfred and Jacqueline Raphclson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert H. Rasmussen Michael Ready Gabriel M. Rebeiz Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rchak Anne and Fred Remley Glenda Rcnwick Molly Rcsntk and John Martin John and Nancy Reynolds Alice Rhodes
James and Helen Richards Elizabeth G. Richart Kurt and Lori Riegger Thomas and Ellen Riggs Mary Ann Ritter Kathleen Roclofs Roberts
Dave and loan Robinson H. James Robinson Janet K. Robinson, Ph.D. Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Thomas and Catherine Rodziewicz Mary F. Locfller and
Richard K. Rohrer Borjc and Nancy Rosaen Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edie W. Rosenfeld Charles W. Ross Mrs. Doris E. Rowan Gary Ruby
Samuel and Irene Rupert Dr. and Mrs. Robert Ruskin Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalbcrg Theodore and loan Sachs Arnold Sameroffand Susan
McDonough Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg Mike and Christi Savitski Gary and Arlene Saxonhouse Hclga and Jochen Schacht Jerry Schafer
Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Carol Schreck Ailecn M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel David and Darlene Scovcll
E. J. Sedlander
John and Carole Segall Sylvia and Leonard Scgel Janet C. Sell
Louis and Sherry L. Senunas Erik and Carol Serr George H. and Mary M. Sexton Matthew Shapiro and Susan Garetz David and Elvera Shappirio Maurice and Lorraine Sheppard Patrick and Carol Sherry Rev. William J. Sherzer Cynthia Shevcl lean and Thomas Shopc Mary Alice Shulman Ned Shure and Jan Onder David and Liz Sickcls Douglas B. Siders, M.D. and Barbara Siders Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegel Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver
F. Silverstein
Carl Simon and Bobbi Low
Alan and Eleanor Singer
Donald and Susan Sinta
Irma J. Sklenar
Beverly N. Slater
Tad Slawecki
Donald C. and Jean M. Smith
Joyce E. Smith
Dr. and Mrs. Michael W. Smith
Paul and Julie Smith
Susan M. Smith
Richard and Julie Sohnly
Lois and William Solomon
James A. Somers
Thomas Spafford
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Jim Spevak
Gretta Spier and Jonathan Rubin
Scott Sproat Charles E. Sproger Edmund Sprunger Mary Stadel Burnette Staebler Curt and Gus Stager Irving M. Stahl and
Pamela M. Rider David and Ann Staiger Constance D. StankraufT Betty and Harold Stark Dr. Erich M. Staudacher Mr. and Mrs. William C. Stebbins Barbara and Michael Steer Ron and Kay Stefanski Virginia ana Eric Stein Ronald R. Stempicn Thom and Ann Sterling Deb Odom Stern and David T. Stem William and Georgine Steude James and Gayle Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson Steve and Gayle Stewart [ohn and Beryl Stimson fames I.. Stoddard Wolfgang Stolper )ohn Strand Ellen M. Strand and
Dennis C. Regan Mr. and Mrs. Clinton E. Stroebel Mrs. William H. Stubbins Mr. and Mrs. Patrick Suchy Donald and Barbara Sugcrman Richard and Diane Sullivan Alfred Sussman Ronald and Ruth Sutlon Eric and Natalie Svaan Earl and Phyllis Swain Rebecca Sweet and Roland Loup fohn and Ida Swieart Mr. and Mrs. Michael W. Taft Jim and Sally Tamm Larry and Roberta Tankanow Jerry and Susan Tarpley Frank and Carolyn Tarzia Margie and Graham Teall Carol and Jim Thiry Tom and Judy Thompson Norman and Elaine Thorpe Peggy Tieman
Bruce Tobis and Alice Hamelc Peter and Linda Tolias Fran Toney Ron and Jackie Tonks Sara Trinkaus Ken and Sandy Trosien Donald F. and Leslie Tucker Jeff and Lisa Tulin-Silver Claire and Jeremiah Turcotte Dolores J. Turner Victor and Hazel Turner William H. and Gerilyn K. Turner Alvan and Katharine Uhle Fawwaz T. Ulaby Mr. and Mrs. Bryan D. Ungard Joyce A. Urba and David J. Kinsella Morella Urbina Emmanuel-George Vakalo Paul and Marcia Valenstein Madeleine Vallicr Carl and Sue Van Appledorn Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houweling Bram and Lia van Leer Fred and Carole van Rcesema J. Kevin and Lisa Vasconi Phyllis Vegter Sy and Florence Veniar Katherine Verdery Elizabeth Vetter Jack and Peg Vezina Martha Vicinus and Bea Nergaard Alice and Joseph Vining Mr. and Mrs. Theodore R. Vogt John and Jane Voorhorst
Jerry Walden and
Julia Tiplady-Walden Stanley H. Waldon George S. and Lorraine A. Wales David C. and Elizabeth A. Walker the Buyer's Broker Mona Walz Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Joan M. Weber Mr. and Mrs. Roy Weber Jack and Jerry Weidenbach Carolyn J. Weigle Dr. Neal Weinberg Gerane and Gabriel Weinreich Lawrence A. Weis David and Jacki Weisman Donna G. Weisman Barbara Weiss John, Carol and Ian Welsch John and Joanne Werner Helen Michael West Tim and Mim Westerdale Ken and Cherry Westerman Paul E. puffy and
Marilyn L. Wheaton James B. and Mary F. White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whiteside Ms. Nancy Wiernik William and Cristina Wilcox Ann and Clayton Wilhite Benjamin D. Williams Dr. and Mrs. Francis S. Williams John Troy Williams Sara S. Williams Anne Marie and Robert J Willis Lois Wilson-Crabtree Donna Winkelman and
Tom Easthope Jan and Sarajane Winkelman Beth and I. W. Winsten James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzburg Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Israel and Fay Woronoff Fran and Ben Wylie Sandra and Jonathan Yobbagy James and Gladys Young Dr. Stephen C. Zambito Phyllis Zawisza Craig and Margaret Zechman Mr. and Mrs. Martin Zeile Patricia Zeisler Alexandre and Natalya Zorin Ronald W. Zorney David S. and Susan H. Zurvalec
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UMS CHAIR CAMPAIGN CONTRIBUTORS
Dr. and Mrs. Gerald Abrams
Christine Webb Alvcy
Herb and Carol Amster
Catherine S. Arcure
Jennifer Arcure and Eric Potoker
Jeff and Deborah Ash
Dr. and Mrs. Daniel R. Balbach
Emily W. Bandera, M.D.
Peter and Paulett Banks
Robert and Wanda Bartlett
Karen and Karl Bartscht
Bradford and Lydia Bates
Anne S. BenninghofT
Joan A. Binkow
Jim Botsford and
Janice Stevens Botsford Melvin W. and Ethel F. Brandt Carl and Isabcllc Braucr Barbara Everitt Bryant Isabel Buckner
Michael and Patricia Campbell Bruce and Jean Carlson Edwin and Judith Carlson Jean and Kenneth Casey Janet and Bill Cassebaum Kathleen G. Charla Mrs. Raymond S. Chase Don and Betts Chisholm John and Nancy Clark Carolyn and L. Thomas Conlin Philip E. and Jean M. Converse Howard J. Cooper Mary K. Cordes Katharine and Jon Cosovich George H. and Connie Cress Ronnie and Sheila Crcsswell Mary R. and John G. Curtis Peter and Susan Darrow Molly and Bill Dobson Charlotte K. Eaton Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman David and Jo-Anna Feathcrman Dedc and Oscar Fcldman Ken and Penny Fischer Michael and Sara Frank Sophia L. French Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrter Beverley and Gerson Geltner Beverly Gershowitz Drs. Sid Gilman and Carol Barbour James W. and Maria J. Gousseff Mrs. William Grabb Arthur W. Gulick
Alice Berbcrian Haidostian Helen C. Hall Dorothy J. Hastings Debbie and Norman Herbert Peter G. Hinman and
Elizabeth A. Young Ken and Joyce Holmes Jack and Davetta Horner Keki and Alice Irani Stuart and Maureen Isaac Mr. and Mrs. Donald E. lahncke Wallic and Janet Jeffries Tim and Jo Wiese Johnson Dorte Junker and Mike Rodemer Robert L. and Beatrice H. Kahn Mercy and Stephen Kasle Herbert Katz Jim and Carolyn Knake Dimitri and Suzanne Kosacheff Barbara and Charles Krause Barbara and Michael Kusisto Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Mrs. Paul H. Lemon Richard LeSueur Dean and Gwen Louis Charles and Judy Lucas Karen Ludema Cynthia Lunan Suzanne and Jay Mahler Hans and Jackie Maier Natalie Matovinovic Mary and Chandler Matthews Richard and Florence McBrien Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Thomas B. and Deborah McMullen Helen Metzner
Prof, and Mrs. Douglas Miller Carmen and lack Miller Lester and Jeanne Monts Michael Moran and Shary Brown Carole Moranty
William Bolcom and Joan Morris Gavin Eadic and Barbara Murphy Dr. and Mrs. Gunder A. Myran Edward and Nancy Naszradi Mrs. Marvin Niehuss Karen Koykka O'Neal and
Joe O'Neal
Mark and Susan Orringer Shirley and Ara Paul Randall and Mary Pittman Eleanor and Peter Pollack Cynthia and Roger Postmus Mary Alice Power Dr. Allen D. Price V. Charleen Price Walter A. Prochnow Jim and Bonnie Reece John and Dorothy Reed Maria and Rusty Rcstuccia Dr. Susan M. Rose Prudence and Amnon Roscnthal Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Sheldon Sandweiss Loretta M. Skewes Herbert Sloan Alene M. Smith Joyce E. Smith Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. Ralph L. Steffek Nancy Bielby Sudia John and Ida Swigart Lois A. Theis Paul Thielking Angie and Bob Trinka Marilyn Tsao and Steve Gao Susan B. Ullrich Dr. and Mrs. Samuel C. Ursu Don and Carol Van Curler Richard E. and Laura A. Van House
Chair Campaign, continued
Mary Vanden Belt Mrs. Francis V.Viola III Willes and Kathleen Weber Marina and Robert Whitman Helen M. Wilkinson Marion T. Wirick and James N. Morgan David and April Wright Paul and Elizabeth Ynouse Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren
BURTON TOWER SOCIETY
T)ie Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Geltner
Mr. Eawin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
MEMORIALS
Harlan N. Bloomer
John H. Bryant
Margaret Crary
Mary Crawford
James A. Davies
Alice Kelsey Dunn
George R. Hunsche
Alexander Krezel, Sr.
{Catherine Mabarak
Frederick C. Matthaei, Sr.
Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Frank Rudesill
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Norman Wait
Carl H. WUmot
Peter Holdcrness Woods
Helen Ziegler
IN-KIND GIFTS
Bernard and Ricky Agranoff
Gregg All
ManAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcurc
Atys
Bella La Vie Kathleen Bcnton Maury and Linda Binkow Bob Caron's Golf Shop Edith Lcavis Bookstein &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant leannine Buchanan Butzel Long Isabella Cederquist Tomas Chavez Chelsea Flower Shop Chicago Symphony Orchestra Chris W. Peterson Jewelry Claridgc Hotel Classic Collegiate China Leon and Heidi Cohan Conlin Travel Karin Wagner Coron Dr. and Mrs. Ronald Crcsswell 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 Debbie and Norman Herbert Terry Hirth and Bodywise
Therapeutic Massage Dan Huntsberger Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John Shultz Photography lohn Sloan Painting John's Pack 8c 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
Jeanne 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 Hauser
Anne Rubin
Maya Savarino
Peter Savarino
Sarah Savarino
Ann and Tom Schriber
Grace Shackman
Mike and Jan Shatusky
Ingrid Sheldon
Grace Singleton
Loretta Skewes
Herbert Sloan
George Smilie and Marysia Ostafin
Irving and Carol Smokier
Steve and Cynny Spencer
Edward Surovell
Sweet Lorraine's
Bengt and Elaine Swenson
Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Mary Vandenbelt
Andrea Van Houweling
Vqila
Eric Wapnick
Emil Weddige & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhouse
BUSINESS LEADERSHIP CIRCLE
AAA Michigan
Alf Studios
Alcan Automotive Products
Allen & Kwan Commercial
Ann Arbor Acura
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. AT&T Wireless Services Austin & Warburton Bank of Ann Arbor Bank One
Barfield CompanyBartech Beacon Investment Company Blue Nile Restaurant Brauer Investments Briarwood Mall Butzel Long Attorneys CFI Group Charles Reinhart Company
Realtors
Chelsea Milling Company Comerica, Inc. Joseph Curtin Studios Deloitte & Touche Detroit Edison Foundation Dow Automotive Elastizcll Corporation ERIM Internationa] Forest Health Services
Corporation Ford Motor Company General Motors Corporation Holnam, Inc. Howard Cooper, Inc. Hudson's Ideations KeyBank Lufthansa
Masco Corporation McKinley Associates Mechanical Dynamics Mcgasys Software Services, Inc. Miller. Canfield, Paddock
and Stone National City NSK Corporation O'Neal Construction Parke-Davis Pharmaceutical
Research
Pepper, Hamihon & Scheetz Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMullen Company Visteon Weber's Inn
GIVING LEVELS
Soloists
Maestro
Virtuosi
Concert master
Leader
Principal
Benefactor
Associate
Advocate
Friend
Youth
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