UMS Concert Program, Saturday Oct. 16 To 24: University Musical Society: 1999-2000 Fall - Saturday Oct. 16 To 24 --

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

UMS
599 FALL SEASON
University Musical Society of the University of Michigan. Ann Arbor
UMS
University Musical Society
1999 FALL SEASON of the University of Michigan, Ann Arbor
On the Cover
Clockwise from left I miii Opera Ballet Ibrahim Ferrer Moby Dick Arnold Schoenberg Deconstructed Berlin Wall
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Back Cover Frcderica von Stade
King Arthur detail iuno. ? CM PtrtotnuiKti ? Lincoln Ccntn)
Neemc jarvi
Ludwig van Beethoven
Bill Prodi
The Volga Vouty from
The Harlem Nutcracker
d LI VLetteRJ&oL Ihfe Friident
4 Letter from the Chair
5 Corporate LeadersFoundations 14 UMS Board of Directors
14 UMS Senate
15 UMS Staff
15 Advisory Committees
17 }fiSefilko41tLi VI
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
ums.org
21 http:www.i
istory
25 UMS Choral Union
26 Auditoria & Burton Memorial Tower
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e I9S2O?MJMS Season 35 Education & Audience Development 37 Dining Experiences 37 BRAVO!
39 Restaurant & Lodging Packages 41 The UMS Preferred Restaurant Program
I N1
45 Advisory Committe
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
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 CHAIR
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." r
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, Canjield, 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?isation."
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 Februarys 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 LJIa 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 ). 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
leanne 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
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana 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 Katy Ryan Karen Schulte Helen Siedel Joan Singer Sue Sinta Sandy Trosien Sally Vandeven 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.
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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
mmmmm WWW.UMS.ORG mmmm
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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.
LAUDITORIA & 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 H
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
Saturday, October 16 through Sunday, October 24,1999
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 tickec, 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.
Lyon Opera Ballet 3
Saturday, October 16, 8:00pm Sunday, October 17, 2:00pm Power Center
Someone Had to Do It 9
by Peter Laki
Berlin Philharmonic Orchestra 15
Claudio Abbado, Music Director
Wednesday, October 20, 8:00pm Hill Auditorium
Da Camera of Houston 25
Moondrunk
Friday, October 22,8:00pm Power Center
The King's Singers and Evelyn Glennie 37
Saturday, October 23, 8:00pm Hill Auditorium
Michigan Chamber Players 49
Schoenberg and His Kind
Sunday, October 24,4:00pm Rackham Auditorium
Lyon Opera Ballet
Yorgos LouKOS.DVector
Solo for Two
Marketa Plzakova Yuval Pick
Carmen
Carmen Yoke Martin
Don Jose Miquel De Jong
Escamillo Thierry Vezies
M. Dominique Lain?
The Gypsy Davy Brun
The Captain Walter Matteini
Solo Girl Ksenia Kastalskaya
Girls Yvonne Jakob Ina Broeckx Colette Maynard Ksenia Kastalskaya Anne-Sylvie Gaches Vanessa Le Mat
Soldiers Jean-Pascal Cottalorda Micha Kostrzewski Jeremie Perroud Frederic Tavernini Adrian Van Winkelhof
UMS
presents
Lyon Opera Ballet
Yorgos Loukos, Director
Thierry Leonardi, General Manager
Jocelyne Mocogni and Gerald Joubert, Ballet Masters
Program
Saturday Evening, October 16,1999 at 8:00 Sunday Afternoon, October 17, 1999 at 2:00 Power Center, Ann Arbor, Michigan
Mats Ek
Mats Ek
Solo for Two
' INTERMISSION
Carmen
Eighth and
Ninth 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.
Special thanks to Yorgos Loukos, Ann Arbor Art Center, and Eastern Michigan University for their assistance in this residency.
The Lyon Opera Ballet appears by arrangement with IMG Artists.
Large print programs are available upon request.
The Company
Pierre Advokatoff Ina Broeckx Davy Brun Maite Cebrian Abad Jean-Pascal Cottalorda Miquel De Jong Aurore Di Bianco Amandine Francois Anne-Sylvie Gaches Bernard Horry Yvonne Jakob Francoise Joullie Ksenia Kastalskaya Micha Kostrzewski Dominique Laine
Vanessa Le Mat Maud Liardon Yoke Martin Walter Matteini Colette Maynard Daniele Pater Jeremie Perroud Yuval Pick Marketa Plzakova Chantal Requena Anabelle Salmon Julie Tardy Frederic Tavernini Adrian Van Winkelhof Thierry Vezies
Edward Boagni, Pianist
Eleni Loukou & Anastasie Tsangary, Tour Managers
Caroline Villedieu, Secretary
Vincent Payen, Technical Manager
Cyril Benhaim and Boucif Hamdaoui, Lights
Christophe Reboul and Frederic Torres, Stagemen
Xavier Beyer, Sound
Valerie Spery, Wardrobe
Lyon Opera
Raymond Barre, President Alain Durel, Director
Solo for Two
Choreography Music
Sets and Costume Design Lighting Design
Mats Ek
For Alina, For Arinushka, Mirror in Mirror
Arvo Part
Peder Freiij Erik Berglund
World premiere March 29, 1996 by The Cullberg Ballet
Solo for Two is a duet taken from the movie Smoke, that Mats Ek produced with Sylvie Guillem and Niklas Ek. Solo for Two is an abstract work without real narration, a piece of sharply etched psychological subtlety. Two beings meet, but do they really meet Or does one exist only in the dream of the other There is a story here: we must find it.
Carmen
Choreography Music
Sets and Costume Design Lighting Design
Mats Ek
Carmen-Suite
Georges BizetRodion Shchedrin
Marie-Louise Ekman Goran Westrup
World premiere May 13,1992 by The Cullberg Ballet
Before approaching Carmen, Mats Ek studied the subject in-depth including the different theatrical, cinematic, and choreographic adap?tations. The resulting work combines Prosper Merimee's novella and the personal interpretation of Bizet's musical score. In Ek's interpreta?tion of Carmen, he uses the cinematic effect of flashback to tell the story: at the moment when the soldiers are about to execute Don Jose, he re-lives his life and that of Carmen.
Ek was particularly drawn to the contrasts in the two principal characters of Carmen and Don Jose. He explores the differences and conflicts that make their relationship difficult if not impossible. Carmen is independent, works, and has many lovers, whereas Don Jose behaves in ways that are usually associated with women: he wants to settle down and marry; he is violently scandalized when Carmen takes on another lover. The two belong to societies in which the rules of behavior are radically different.
Another distinction between the novella, the opera and the ballet is that in Mats Ek's version, Don Jose's fiance, Micaela, plays a more important role than she had in the opera and novella. Developed only minimally by Merimee and Bizet, she had nevertheless represented a maternal figure who is close to the soul of Don Jose.
By only suggesting Spain, Marie Louise Ekman's minimalist decor liberates the story from its historical context, bringing it closer to Ek's interpretation of the tale.
Yorgos Loukos {Director) studied ballet with Igor Foska, Boris Kniasef, Raymond Franchetti as well as philosophy at the University of Aix-en-Provence. In Paris, he joined the Theatre du Silence in 1972 where he danced neo-classical and modern repertory. After dancing one year with the Zurich Opera, he joined the Ballet National de Marseille, first as a dancer, then as ballet master and assistant to Roland Petit. In this capacity, he staged Roland Petit's Carmen for the American Ballet Theater and L'Arlesienne for the London
Festival Ballet. Loukos then left for the US where he worked at the Metropolitan Opera of New York before going to the Lyon Opera as an assistant to Robert Wilson for the cre?ation of Gavin Bryars' Medea. In that year, he joined the Lyon Opera Ballet as a ballet-master, becoming a co-director a few years later, and director after Francoise Adret's retirement, in December 1991.
As Director of the Lyon Opera Ballet, Yorgos Loukos has been responsible for inviting many choreographers to work with the company including: Jiri Kylian, William Forsythe, Mats Ek, Maguy Marin who was appointed resident choreographer for a period of two years, Bill T. Jones who held the position for two-and-a-half years after Marin's departure, Angelin Preljocaj, Ohad Naharin, Mathilde Monnier and Jean-
Francois Duroure, Nacho Duato, Stephanie Aubin, Jean-Claude Gallotta, Herve Robbe and Joachim Schlomer.
In addition to new versions of the great classical ballets commissioned from Angelin Preljocaj {Romeo and Juliet in 1990) and Maguy Marin (Coppelia in 1993, almost ten years after Cendrillon's triumph), Yorgos Loukos commissioned many productions by American choreographers such as Bill T. Jones, Ralph Lemon, Karole Armitage, Lucinda Childs, Susan Marshall and Stephen Petronio. More recently he has highlighted French and European choreographers. In February 1998, he dedicated an entire evening to Jiri Kylian, and in June of the same year to Mats Ek, with Carmen and Solo for Two.
For the 19981999 season, he commis?sioned premieres by Frederic Flamand, Meryl Tankard and Tero Saarinen, for whom it was the first creation with another company. Other commissions were given to Lionel Hoche and three young members of the company: Alessio Silvestrin, Jo Kanamori and Andonis Foniadakis.
Since 1992, Yorgos Loukos has also been Artistic Director of the Festival International de Danse in Cannes.
Mats Ek (Choreographer), critically regarded as one of the most theatrically stunning and original choreographers presently working in Europe, began his career as a theater director. Born in 1945 in Sweden, Ek is the child of a theatrical family (Anders Ek, his father, was an actor close to Ingmar Bergman; and Birgit Cullberg, his mother, was a choreographer and the founder of The Cullberg Ballet.)
Ek studied theater at the Marieborg Volks College in Sweden. From 1966 to 1973 he served as director of the Marionett Theater, as well as the Royal Dramatic Theatre in Stockholm. In 1972 he resumed
his dance studies (he had studied briefly with Donya Feuier when he was seventeen years old). That year he also joined The Culberg Ballet and began to choreograph for the company, creating such powerful works as Soweto and Bernardo. In 1978, Ek was appointed co-artistic director of The Cullberg Ballet, along with his mother, Birgit Cullberg. In 1985, he assumed full responsibility of the company, a position he held until 1993.
Ek has choreographed close to thirty ballets, many of which have achieved inter?national renown, most especially his spec?tacular and profoundly human re-concep?tions of Giselle (1982), Swan Lake (1987), Sleeping Beauty (1997) and Carmen (1992). In addition to creating works for The Cullberg Ballet, he has received commis?sions to create work for Paris Opera Ballet and Nederlands Dans Theatre, among others.
Be they narrative or abstract, Ek's dances are marked by profound humanity, subtle humor and theatrical brilliance. The characters in his works are strong and origi?nal. Although his basic language remains classical, his movement vocabulary incorpo?rates modern techniques, especially that of Martha Graham. His language, according to Madeleine Kats is three-dimensional: "ter?restrial, telluric and superterrestrial...per?forming as if they have a volcanic source which erupts in madness, violence, brutality, and sexuality, the characters he creates are naive and intuitive as well as strong, comical and dreamy. They perform with a mix of flashing heat and chilling ice."
Created in 1969 by Lyon Opera Director Louis Erlo, the pre?sent Lyon Opera Ballet was established in 1984 when Mr. Erlo invited Francoise Adret to create a new ballet company committed to contemporary choreographers. When Ms. Adret retired in December 1991,Yorgos
Loukos, who had been the company's associate artistic director since 1984, was appointed artistic director and Maguy Marin was appointed resident choreographer.
In 1987, the company made its US debut with a two-week season at City Center in New York, where it presented Maguy Marin's Cendrillon, a magical trans?formation of the Cinderella story, which became an instant success. The company returned to New York that spring to present the ballet for an additional two weeks. France's most well-traveled ballet troupe, the company has subsequently made three cross-country tours of the US. The company has, to date, acquired and commissioned ballets by a wide range of international choreographers including William Forsythe, Jiri Kylian, Nils Christe, Nacho Duato, Mathilde Monnier and Jean-Francois Duroure, Louis Falco, Mats Ek, Christopher Bruce, Ohad Naharin, and Angelin Preljocaj.
In 1995, The Lyon Opera Ballet was named "Opera National de Lyon," elevating the Lyon company to the same level as the 328-year-old Opera National de Paris, the only other national opera house in France. That same year in June, the company per?formed as part of the United Nation's Fiftieth Anniversary Celebration in San Francisco. One year later, Lyon Opera Ballet was invited to open the 1996 First Lincoln Center Festival in New York, with Maguy Marin's Coppelia. The company most recently appeared in the US in 1997, when it performed at both the American Dance Festival and the Jacob's Pillow Dance Festival. That autumn it also made a fall tour of the West coast and midwest. The Lyon Opera Ballet recently returned from Moscow, where it was the first modern ballet troupe to perform at the historic Bolshoi Theater.
Tonight's performance marks Lyon Opera Ballet's debut under UMS auspices.
Schoenberg expressed that truth not only in music but also in words, in numer?ous published essays and private letters. In his 1946 essay "Criteria for the Evaluation of Music," he wrote: "My personal feeling is
that music conveys a prophetic message revealing a higher form of life towards which mankind evolves." That is a big claim, but Schoenberg did not make it light?ly. He chose as his point of departure -like Wagner and Mahler had done before him -the axiom that music had to address the highest, most universal issues in the world. With Schoenberg, this demand became a downright moral imperative: the composer had the duty to be more than an entertainer and to grapple with the most complex philosophical and religious issues. Schoenberg's first masterwork, Transfigured Night (1899), already exemplifies this imperative by elevating an almost banal subject matter into a transcendent realm. The half-hour opera Erwartung (Expectation, 1909) similarly penetrates far beyond what would otherwise be a lurid murder story, to depict horror and trauma on a truly cosmic level. Pierrot Lunaire (1912), for reciter and chamber ensemble, is, despite a grotesque-satirical exterior, a journey into a fantastic dreamworld never before explored. The evening-filling (but never completed) opera Moses und Aron (1930-32) raises a profound philosophical dilemma between idea and its expression.
Schoenberg's logic is flawless, and his artistic integrity of the highest order. The dissolution of the major-minor system after Tristan was unstoppable.
And A Survivor from Warsaw (1947) con?fronts the recent tragedy of the Holocaust in such a way that a member of the audi?ence said: "Whole volumes, long essays, many articles have been written about this __ problem, but in eight min-
utes Schoenberg has said far more than anyone has been able to do before."
In other words, the stakes were always high for Schoenberg. But a "prophetic message" was not to be delivered in a style of everyday speech. From the axiom of the universal issues follow a few more
axioms, summarized by Schoenberg in an essay called "New Music, Outmoded Music, Style and Idea" (1946):
What is New Music
Evidently it must be music which, though it is still music, differs in all essentials from previously composed music. Evidently it must express something which has not yet been expressed in music. Evidently, in higher art, only that is worth being pre?sented which has never before been pre?sented. There is no great work of art which does not convey a new message to humani?ty; there is no great artist who fails in this respect.
Schoenberg's compositional innova?tions must be seen as means toward this end. He himself saw them as the inevitable next step after Wagner's Tristan und Isolde. One writer has devoted an entire book to showing that this was an error; yet, in spite of the fact that we no longer see history as a single evolutionary line or ignore alterna?tives that undoubtedly exist, Schoenberg's logic is flawless, and his artistic integrity of the highest order. The dissolution of the major-minor system after Tristan was unstoppable. New ideas had emerged that
1899
Arnold Schonberg, at twenty-five, has just finished his string sextet Verklarte Nacht (Transfigured Night), based on a poem by Richard Dehmel. A member of the jury at the Vienna Composers' Association declares: "It sounds as if someone had smeared the score of Tristan while it was still wet!"
1924
Arnold Schonberg's fiftieth birthday is commemorated by a special publication which includes an essay by Schonberg's former student, Alban Berg: "Why is Schonberg's Music so Hard to Understand"
1949
On his seventy-fifth birthday, Arnold Schoenberg (he changed the spelling of his name when he moved to the United States in 1934) becomes an honorary citizen of his native Vienna. In Los Angeles, his Fantasy for Violin with Piano Accompaniment is premiered. At the same time, he writes in a letter: "My music is almost totally unknown in America and also in present-day Europe."
1974
On the 100th anniversary of Arnold Schoenberg's birth, a critic, writing in German, states: "It seems that Schonberg is still the Great Unloved..."
1999
On the 125th anniversary of Schoenberg's birth, The New York Times announces: "He Never Wanted to Hurt Music, Just Help It Evolve."
could not fit into the existing harmonic framework, and once an idea is born, it can never be "unborn." And Schoenberg's musi?cal imagination produced ideas in such end?less abundance that soon it became neces?sary for him to look for new laws to replace the ones that had outlived their usefulness. That is how serialism, or the "method of composing with twelve tones which are related only with one another" as he called it, came about.
Schoenberg's admonition that his works, written after the 1920s, are "twelve-tone compositions, not twelve-tone composi?tions," has been frequently quoted but rarely understood. Composers and analysts have focussed exclusively on the method, with its rows, transpositions, inversions, and retro?grades, largely neglecting the larger context (the above-mentioned axioms). As a result, serialism became an academic discipline and a technical exercise which was the far?thest thing from Schoenberg's mind. This is also how Schoenberg's music acquired a reputation of being overly "cerebral," which is an odd thing to say about the composer who, in Erwartung, had become the father of musical expressionism. In vain did the aged composer protest in "Heart and Brain in Music" (another remarkable piece of prose from that remarkable year of essays, 1946), pointing out that these two human faculties are meaningless without one another. Few have ever chosen to listen carefully to his argument.
Just as heart and brain are inseparable, so is Schoenberg's style from his "prophetic message." That is why he said, in "How One Becomes Lonely" (1937), in response to people who deplored the fact that he had stopped writing in the post-Wagnerian style of Verklarte Nacht "I have not discontinued composing in the same style and in the same way as at the very beginning. The difference is only that I do it better now than before; it is more concentrated, more mature."
The fact remains that Schoenberg did become lonely toward the end of his life. The incomprehension of audiences and crit?ics affected him deeply, yet he would never consider changing his course to please his listeners. As he wrote in "Heart and Brain in Music:"
I believe that a real composer writes music for no other reason than that it pleases him. Those who compose because they want to please others, and have audiences in mind, are not real artists. They are not the kind of men who are driven to say something whether or not there exists one person who likes it....They are not creators who must open the valves in order to relieve the interior pressure of a creation ready to be born. They are merely more or less skillful entertainers who would renounce composing if they could not find listeners.
"I believe that a real composer writes music for no other reason than that it pleases him. Those who compose because they want to please others, and have audiences in mind, are not real artists."
In Schoenberg's works -whether tonal, atonal or serial -one always feels that "interior pressure" that demanded release. This tension is maintained by an undoubtedly harsh, dissonant style (Schoenberg coined the expression "emanci?pation of dissonance," which meant that dis?sonances no longer had to resolve to conso?nances as they had in classical music), and by an irregular phrase structure he referred to as "musical prose," liberating the flow of
music from the symmetrical fourand eight-bar phrases that had prevailed in the eighteenth and nineteenth centuries. These factors may still make Schoenberg's music "hard to understand," to quote the title of Berg's 1924 essay, which discusses phrases of irregular length in great detail. Yet "hard to understand" means only that there is some?thing to understand; something complex, uncomfortable, and yes, prophetic. Even today, Schoenberg's music is a challenge to the audience, but who said everything in life always is, or has to be, easy Despite the "difficult" surface, the sheer energy and power of the music are irresistible -or rather, the energy and power are generated by the very thing that is perceived as "diffi?cult" in the writing.
According to the famous story, when Schoenberg was drafted into the Austrian
army during World War I, an officer asked him: "Are you Arnold Schoenberg, the con?troversial composer" Schoenberg replied: "Someone had to be, and nobody else want?ed to, so I took it on myself." No one has ever given a better summary of Schoenberg's position in the history of music.
UMS
and
DaimlerChrysler
present
The Berlin Philharmonic Orchestra
Claudio ABBADO, Music Director and Conductor
Program
Ludwig van Beethoven
Arnold Schonberg
Wednesday Evening, October 20, 1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Symphony No. 4 in B-flat Major, Op. 60
Adagio -Allegro vivace
Adagio
Allegro vivace -Trio: Un poco meno allegro
Allegro, ma non troppo
INTERMISSION
Pelleas and Melisande,
Symphonic Poem for Orchestra, Op. 5
after the drama by Maurice Maeterlinck
Tenth 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 DaimlerChrysler, Wilhelm Kast, The Cross-Cultural Leadership Forum, Mr. and Mrs. Heinz Prechter, and other friends of the Berlin Philharmonic Orchestra.
Additional support for this performance is provided by Lufthansa. Special thanks to Wilhelm Kast for making this performance possible. Additional support provided by media sponsor, WGTE.
Special thanks to Glenn Watkins and the Center for European Studies for their involvement in this residency.
Deutsche Bank AG is the tour sponsor of the Berlin Philharmonic Orchestra.
The Berlin Philharmonic Orchestra appears by arrangement of Columbia Artists Management Inc.
The Berlin Philharmonic Orchestra records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
Symphony No. 4 in B-flat Major, Op. 60
Ludwig van Beethoven
Born December 16, 1770 in Bonn
Died March 26, 1827 in Vienna
Beethoven's career as a composer spans some forty years, from his youthful essays to the last string quartets. His output, however, is not evenly distributed over those decades. There were years when he composed little or nothing at all; at other times he wrote incredible amounts of great music over a remarkably short period of time. During such periods, it is hard to reconcile Beethoven's extreme speed with the usual image of the composer toiling endlessly over his sketches.
1806 was one of the most prolific years in Beethoven's life. He completed his three Razumovsky quartets, Piano Concerto No. 4, Symphony No. 4, and the Violin Concerto. He also started work on what would later become Symphony No. 5 (actually, the c-minor work had been begun first, and then laid aside in favor of the symphony in B-flat).
The thirty-six-year-old Beethoven was in the middle of his so-called "heroic" peri?od, shortly after the "Eroica" and just before the no-less-heroic Symphony No. 5. Symphony No. 4 has traditionally been seen as a kind of respite between these two mighty works, in accordance with the old theory that opposed the dramatic "odd-numbered" symphonies to the more lyrical "even-numbered" ones.
As an experiment, let us forget this the?ory for a moment. We will then find that Symphony No. 4 is animated by the same incessant flow of energy and the same irre?sistible pull to move ahead as its more tem?pestuous companions. It is just as perfect a representative of the "heroic" period as any other work. The emotions expressed may be lighter and less tragic, but they are expressed with the same force throughout.
The slow introduction to the first movement is certainly one of the most sus-penseful Beethoven ever wrote. The idea of starting a B-flat-Major symphony with a slow-moving unison theme in b-flat minor may have come from Haydn's Symphony No. 98 -but the polarity is much greater in Beethoven, whose introduction is full of a sense of mystery that was entirely new in music. One finds it hard to believe that Haydn had written his London symphonies only a decade earlier and was still alive in 1806!
Slow introductions are usually linked to the subsequent allegros by means of some transition that builds a bridge between the two tempos. In Beethoven's Symphony No. 4, there is a clear separation instead of a bridge. A drastic shift of keys and a sudden general rest bring the music to a virtual standstill before the energetic "Allegro vivace" is launched. Now there will hardly be a moment of pause until the end of the movement. The concise exposition begins with a brisk and vibrant theme, and even the more lyrical moments are full of motion and excitement.
The development section employs one of Beethoven's favorite musical techniques, namely thematic fragmentation. The first theme is "decomposed" almost to its atoms; for a while, it receives a new lyrical counter-melody that is, however, soon brushed aside by a tutti outburst. The recapitulation is prepared by a long tremolo on the kettle?drum, over which the strings gradually put the thematic "atoms" back together for the triumphant return of the theme.
The second movement is the only large-scale lyrical "Adagio" in a Beethoven sym?phony before Symphony No. 9. (The other symphonies' slow movements are all faster, with the exception of the "Funeral March" of Symphony No. 3.) In Symphony No. 4, Beethoven unfolds a beautiful cantabile (singing) theme over a characteristic rhyth-
mic accompaniment that eventually rises to the status of a theme in its own right. The cantabile theme returns several times, in a more and more ornamented form, its appearances separated by some rather pow?erful statements. The movement ends with a timpani solo followed by two concluding orchestral chords.
The third movement is a scherzo, although Beethoven didn't use that word as a title. The music abounds in playful ele?ments such as subtle interplays of duple and triple meter, sudden modulations (or, rather, jumps) into distant tonalities, and a general mood of exuberant joy. The "Trio" moves in a slower tempo and has a simpler melody; it is based on the juxtaposition of the orchestra's wind and string sections. Beethoven added an interesting twist to the usual scherzo form here: he expanded on the standard form (Scherzo-Trio-Scherzo) by means of a second appearance of the "Trio" and a third scherzo statement (he was do the same in Symphony No. 7).
The fourth-movement finale, marked "Allegro, ma non troppo," begins with a theme in perpetual sixteenth-note motion; the flow of the sixteenth is only briefly interrupted by melodic episodes. This movement is light in tone and cheerful in spirit. Like the slow introduction to the first movement, the finale also shows how much Beethoven had learned from Haydn (less during his brief apprenticeship with the older composer than from studying Haydn's symphonies). But -once again -most of the music sounds like no one but Beethoven. The repeated und unresolved dissonanes at the end of the exposition (duly brought back in the recapitulation) sound rather close to a similar passage in the first movement of the "Eroica." Also, Haydn probably wouldn't have entrusted the return of the perpetual-motion theme to the solo bassoon, in what is one of the most dif?ficult passages for the instrument in the
classical repertoire. In general, Haydn's cheerfulness has been stepped up to a state of near-euphoria. One feels that this music could go on ad infinitum, but it is suddenly cut short by a hesitant, slower rendition of the main theme in the violins, continued by the bassoons, and abruptly ended by a few energetic chords played by the whole orchestra.
Pelleas and Melisande, Symphonic Poem for Orchestra, Op. 5
after the drama by Maurice Maeterlinck
Arnold Schonberg
Born September 13, 1874 in Vienna
Died July 13, 1951 in Los Angeles
The early works of Schoenberg usually evoke one of two types of reactions. Some feel that it is not yet the "real" Schoenberg, as its style is still firmly rooted in late Romanticism. Others wish Schoenberg had stopped right there, and had never devel?oped atonality and serialism. I think both opinions are misguided. Surely, Pelleas and Melisande must be "real" Schoenberg: it is the work of a composer who knew exactly what he wanted and how to get it (a feat all the more impressive because Schoenberg was almost entirely self-taught in composi?tion). As far as his later music is concerned, there is a definite continuity among the var?ious periods: serialism was nothing but an attempt to impose a new order on musical ideas that had, over a period of twenty years, gradually broken loose from tonal control.
When Schoenberg began work on his tone poem Pelleas and Melisande in Berlin in 1902, he was apparently unaware that Debussy's opera of the same name had just been performed in Paris. It was Richard Strauss who had suggested Maurice
Maeterlinck's drama as a musical subject to the young Schoenberg, even though, as principal conductor at the Imperial Court Opera in Berlin, he must have known of this recent operatic sensation. At any rate, Schoenberg gave up his original plans to write an opera on Pelleas and composed a tone poem instead, more or less along Straussian lines. Thanks to research done by Walter B. Bailey, we know that Schoenberg had very precise ideas about how the music expressed the characters and actions in the drama. These ideas survive in sketches and correspondence, but Schoenberg did not publish them until a year before his death, when (in 1950) he wrote jacket notes for a recording of the work, and even then only
Schoenberg himself commented that, had he written his Pelleas opera, "it would have differed from Debussy's. I might have missed the wonderful perfume of the poem, but I might have made my characters more singing."
partially. But then, the essence of Maeterlinck's play -which Debussy cap?tured so masterfully in his opera -is its mystery, its tendency of never spelling things out completely.
Schoenberg's approach -and indeed, his entire musical style -was the total opposite of Debussy's. Schoenberg himself commented that, had he written his Pelleas opera, "it would have differed from Debussy's. I might have missed the wonder?ful perfume of the poem, but I might have made my characters more singing." They
even sing in the symphonic poem: their themes reach post-Wagnerian heights of passion that Debussy (himself not exactly untouched by Wagner) went out of his way to avoid.
The story in a nutshell: Golaud, the grandson of the mythical King Arkel, dis?covers a young girl in the forest. Her name is Melisande; her origins are never revealed. Golaud takes her home and marries her; but she falls in love with his younger half-broth?er Pelleas. Golaud kills Pelleas. Melisande dies in childbirth, leaving her husband eter?nally in doubt about the nature of the love between her and Pelleas.
Schoenberg's forty-minute tone poem is structured as a four-movement symphony,
played with no pauses between the move?ments, with a scherzo in second place and a slow section coming third. The work opens with a somber introduction, with a bass clarinet theme that Schoenberg himself called the "Fate" motif. It is the first meeting between Golaud and Melisande in the for?est: she is pictured by an expressive oboe melody, he by a theme played by the three horns "softly but with determination." Pelleas enters later, to music of "youthful and knightly character" (Schoenberg's words), with the principal voice in the trumpet. The themes of the three characters are intertwined as their fates are in the drama.
The scherzo section (in a dance-like triple meter, at least for a short while) shows Melisande playing with her ring in the for?est, but the fun is over when she drops it into a deep well. The scene then changes, and we hear a magical passage scored for three solo strings, woodwind and harps, corresponding to the moment where Melisande's long hair falls down from her window for Pelleas (who is standing on the ground) to touch. Golaud's motif, scored menacingly for the full orchestra, marks the arrival of the jealous husband. The next sec?tion (technically still within the so-called scherzo) is a highly dramatic, eerie passage suggesting Golaud and Pelleas in the deep vaults of the castle.
We are now approaching the emotional high point of the piece, the lush, post-Tristan-and-Isolde love scene between Pelleas and Melisande, which occupies most of the slow third movement of the tone poem. The moment when Golaud appears and slays his brother is almost graphic in its violence: the "Fate" motif is played by the entire orchestra, followed by a series of short, repeated chords in the brass.
The final movement begins with a return to the somber introduction: at the moment of her death, everything about Melisande is as mysterious as it was when we first met her. Aside from occasional outbursts of passion, the tempo remains slow and the mood tragic throughout. A characteristic harp glissando introduces a quiet, procession-like motif representing the grave entrance of the servants "as a premonition of the death of Melisande" (Schoenberg). The rest of the piece is a solemn eulogy that seems to sum up this great tragedy of human beings utterly incapable of understanding one another.
Program notes by Peter Laki.
Claudio Abbado first conducted the Berlin Philharmonic Orchestra in 1966, and was elected Artistic Director and Chief Conductor in October 1989. His position with this celebrated orchestra is the culmination of an impres?sive series of distinguished musical posts, some of which he still holds. He currently devotes most of his time to the Berlin Philharmonic Orchestra, working primarily with only two other ensembles, the Mahler Youth Orchestra, which he founded, and the Chamber Orchestra of Europe, of which he is Artistic Advisor.
Born in Milan, Mr. Abbado studied at that city's Giuseppe Verdi Conservatory and at the Vienna Academy of Music before win?ning the Koussevitzky Prize at Tanglewood in 1958. During the next five years, he made a series of important guest conducting debuts in Europe and, in 1963, won the Mitropoulos Conducting Competition, which led to a five-year association with the New York Philharmonic. Mr. Abbado was named Music Director of La Scala in 1968, and served as the head of Italy's premiere opera house for the next eighteen years. He relinquished this post in 1986 to accept the Music Directorship of the Vienna Staatsoper, where he remained for five years, solidifying his relationship with the Opera's official orchestra, the Vienna Philharmonic.
Mr. Abbado has been General Music Director of the City of Vienna since 1987. He also served as Music Director of the London Symphony Orchestra and Principal Guest Conductor of the Chicago Symphony Orchestra, and has been Artistic Director of the Salzburg Easter Festival since 1994.
Claudio Abbado's interest in furthering the careers of talented young musicians led him to found the European Community Youth Orchestra in 1978 and the Gustav Mahler Youth Orchestra in 1986. This past summer, Mr. Abbado and the Mahler Youth
Orchestra were in residence at Tanglewood for two weeks of rehearsals and perfor?mances, culminating in a performance of Mahler's Symphony No. 7 at the Tanglewood Shed, and shortly afterwards, the Orchestra departed on a tour of South America and Europe, including performances in Chile, Venezuela, Scotland, Italy and Germany.
Mr. Abbado also inaugurated an annual competition for young composers in Vienna that has now been expanded to include prizes for composition, the visual arts and literature, awarded by the Salzburg Easter Festival. In 1988, Claudio Abbado initiated Wien Modern (Vienna of Today), an annual event that began as a festival of contempo?rary music and has since evolved to include all aspects of contemporary culture. Several years later, he launched an annual chamber music event entitled "Encounters in Berlin," to afford young musicians an opportunity to work with experienced instrumentalists in performances of the standard and con?temporary chamber music literature.
Mr. Abbado's extensive recordings, many of which have been awarded interna-
tional prizes, include several operas and the complete symphonic works of Beethoven, Mahler, Mendelssohn, Schubert, Ravel and Tchaikovsky. His discography with the Berlin Philharmonic Orchestra includes Brahms' complete symphonies, concertos and choral works, Mahler symphonies, music of Prokofiev and Dvorak and operas by Rossini and Mussorgsky. Ongoing pro?jects include a cycle of Mozart symphonies with the Berlin Philharmonic and a Bruckner cycle with the Vienna Philharmonic. Upcoming Deutsche Gramophone releases include Richard Strauss' Four Last Songs and Mozart's Requiem, recorded live on July 16,1999, at a Salzburg concert to commemorate the day of the death of Herbert von Karajan.
Mr. Abbado's many honors include awards from the governments of Italy, Germany, Austria and France; as well as the Siemens Prize; the Gold Medal of the International Mahler Society; and honorary degrees from the Universities of Cambridge, Aberdeen and Ferrara.
Tonight's performance marks Claudio Abbado's third appearance under UMS aus?pices. Maestro Abbado last appeared under UMS auspices on March 4, 1987 conducting the Vienna Philharmonic in Hill Auditorium.
The Berlin Philharmonic Orchestra has been the most important feature in Berlin's musical life for 117 years. Widely acknowledged as one of the world's premiere symphonic ensembles, it has also served as a trailblazer by virtue of its self-governing status in which the musi?cians themselves make important artistic decisions. The Orchestra was founded in 1882 by some fifty ambitious musicians who had rebelled against the autocratic rule of the conductor in whose ensemble they had
Under Mr. Abbado's leadership, twentieth-century music has come to occupy a regular place in the Berlin Philharmonic Orchestra's concerts.
been playing. After five years of a precarious existence, the operations of the fledgling Orchestra were taken over by Hermann Wolff Music Management, which secured greater financial stability for the musicians and most importantly, engaged as chief conductor Hans von Biilow, the most artisti?cally uncompromising and forward-looking conductor of his day. Within a span of five years, Biilow proved himself as an orchestra builder, instituted innovative programming ideas, and established the foundation of the Berlin Philharmonic Orchestra's distinctive sound and style of playing.
Famous guest conductors soon came to Berlin to lead the Orchestra, among them Hermann Levi, Hans Richter, Felix Mottl, Felix von Weingartner, Ernst von Schuch, and the composers Brahms, Tchaikovsky, Mahler, Richard Strauss and Pfitzner. Tchaikovsky, who led the Orchestra several times, remarked after one of his concerts:
The excellent Philharmonic Orchestra in Berlin has a special characteristic, for which I can find no more appropriate term than 'elasticity.' They have the capability of adapting themselves to the tonal mass effects of a Berlioz or a Liszt as well as to the delicate transparency of a Haydn ... Moreover, as a self-governing body, they play for their own benefit... These unusual circumstances are bound to contribute to the high standards of the artistic performance....
In 1895, Bulow was fol?lowed by Arthur Nikisch, a conductor of quiet, econom?ic gestures who for twenty-seven years, guided the Orchestra to ever greater artistic achievements, enlarg?ing the repertoire to include the music of Bruckner, Strauss and Mahler and inviting such notable artists as Busoni, Backhaus, Cortot,
Huberman, Heifetz and Casals to appear as soloists with the Orchestra.
Nikisch was succeeded in 1922 by Wilhelm Furtwangler, a young conductor who subsequently distinguished himself through his temperament, passion, reflec?tive, almost philosophical attitude towards interpretation, and arresting baton tech?nique. During his lifetime, he was renowned for his interpretations of the music of Beethoven, Brahms and Bruckner, while at the same time, he promoted works by Hindemith, Prokofiev, Stravinsky and Schoenberg, as long as the National Socialist dictatorship did not intervene.
Musical life was quickly rebuilt in Berlin, a city that had been reduced to rub?ble by the end of World War II. Less than two months after the capitulation of Germany, the Berlin Philharmonic Orchestra was able to perform under the direction of Leo Borchard, with little change in personnel. Following Borchard's sudden death, the unknown thirty-three-year-old Romanian conductor, Sergiu Celibidache, was engaged as the Orchestra's permanent conductor. A complex man of temperament, his concerts bore the stamp of the unusual. The isolation that had been forced on German musical life through National Socialist cultural policy was rapidly over?come: internationally famous soloists -the first being violinist Yehudi Menuhin -as well as conductors, began coming to Berlin
again. The orchestra went on tour in Germany and abroad. Furtwangler returned in 1946, and six years later, was again named Chief Conductor. He died in 1954, and the following year, the members of the Berlin Philharmonic Orchestra voted to appoint Herbert von Karajan as their Permanent Conductor and Artistic Director.
For the next three decades, Karajan achieved artistic excellence and stylistic dis?tinction, and left his decisive stamp on the Orchestra's sound. This unique artistic part?nership was soon celebrated worldwide, through international tours and innumer?able recordings (on which the Berlin Philharmonic Orchestra "became" the Berliner Philharmoniker). In 1963, the Orchestra moved to its current home, the acoustically renowned Philharmonie on Kemperplatz, designed by Hans Scharoun. Herbert von Karajan terminated his long partnership with the Berlin Philharmonic Orchestra in April 1989, resigning his post as Permanent Conductor and Artistic Director. He died three months later in Salzburg.
At a meeting of the Orchestra in October 1989, the members of the Berlin Philharmonic chose Claudio Abbado as their fifth Chief Conductor and Artistic Director. He officially assumed his new post at the commencement of the 1990-91 con?cert season, on September 1, 1990. By the unanimous vote of the Orchestra members, held more than a year ahead of schedule, Mr. Abbado's contract was extended to the year 2002, illustrating the strength of the musicians' commitment to this fruitful artistic partnership.
Since coming to Berlin, Mr. Abbado has instituted programmatic cycles based on lit?erary themes. Concert seasons have been built around music inspired by the Faust and Prometheus legends, the poetry of Holderlin, Shakespeare, Alban Berg and Georg Biichner (highlighted by perfor-
mances of Wozzeck), and, for this season, Tristan und Isolde -The Myth of Love and Death. Under Mr. Abbado's leadership, twentieth-century music has come to occupy a regular place in the Berlin Philharmonic Orchestra's concerts alongside Classical and Romantic works, and regular opera-in-con?cert performances have been instituted.
Mr. Abbado has led the Orchestra on regular tours of Germany and major European music centers and festivals, as well as on tours to North America, Russia and Japan. In October 1999, the Orchestra embarks on an international tour celebrat?ing "Fifty Years of the Federal Republic of Germany," giving performances in Bonn, Moscow, London, Paris, Washington DC, Chicago, Ann Arbor, Boston and three con?certs in New York's Carnegie Hall. Mr. Abbado and the Orchestra will appear at the Salzburg Easter Festival in April 2000 and tour South America in May 2000, perform?ing in Buenos Aires, Sao Paulo and Rio de Janeiro. In addition, the Orchestra will per?form ninety-three regular subscription con?certs at Berlin's Philharmonie, and its princi?pal musicians, ensembles and guest artists will give thirty chamber music recitals throughout the season.
In June 1999, the musicians of the Berlin Philharmonic Orchestra voted to appoint renowned English conductor Sir Simon Rattle to succeed Claudio Abbado as Chief Conductor and Artistic Director, beginning with the 2002-2003 season.
This performance marks The Berlin Philharmonic Orchestra's fifth appearance under UMS auspices. The orchestra first appeared under UMS aupices on March 15, 1955. The orchestra last appeared under UMS auspices in performance at Hill Auditorium on January 30, 1965 under the baton of Herbert von Karajan.
The Berlin Philharmonic Orchestra
Claudio Abbado, Music Director
Dr. Elmar Weingarten, General Manager
Dr. Helge Griinewald, Press and Public Relations
First Violins Daniel Stabrawa
First Conccrtmaster Toru Yasunaga
First Concertmaster Rainer Sonne
Concertmaster Zoltan Almasi Maja Avramovic Peter Brem Armin Brunner Alessandro Cappone Madeleine Carruzzo Laurentiu Dinca Peter Dohms Sebastian Heesch Peter Herrmann Wolfgang Hcrzfeld Aleksandar Ivic Riidiger Liebermann Kotowa Machida Helmut Mebert Andreas Neufeld Bastian Schafer
Second Violins Christian Stadelmann
First Principal Axel Gerhardt
Principal Holm Birkholz Susanne Calgeer Stanley Dodds Amadeus Heutling Rainer Mehne Christoph von der Nahmer Raimar Orlovsky Hcinz-Henning Perschel Ursula Schoch Walter Scholefield Armin Schubert Stephan Schulze Christoph Streuli Eva-Maria Tomasi Romano Tommasini
Violas Niehard Resa
First Solo Viola Wilfried Strehle
Solo Viola Brett Dean Ulrich Fritze Matthew Hunter Ulrich Knorzer Walter Kiissner Zdzislaw Polonek Henrik Schaefer Tanja Schneider Martin Stegner Wolfgang Talirz kurii. i Tsuchiya
Cellos Georg Faust
First Solo Cello Ludwig Quandt
First Solo Cello Martin Lohr
Solo Cello Olaf Maninger
Solo Cello Gotz Teutsch Jan Diesselhorst Richard Duven Christoph Igelbrink Martin Menking David Riniker Dietmar Schwalke Knut Weber Alexander Wedow
Basses Esko I .line
First Solo Bass Prof. Klaus Stoll
First Solo Bass Rudolf Watzel
Solo Bass Manfred Dupak Martin Heinzc Wolfgang Kohly Rolf Ranke Peter Riegclbauer Janne Saksala Ulrich Wolff
Flutes
Andreas Blau Emmanuel Pahud' Michael Hasel Jelka Weber
Piccolo
Hans Wolfgang Diinschede
Oboes
Albrecht Mayer Hansjorg Schellenberger Christoph Hartmann Andreas Wittmann
English Horn Dominik Wollenweber
Clarinets
Wenzel Fuchs Peter Geisler Walter Seyfarth
Bass Clarinet
Manfred Preis
Bassoons
Daniele Damiano Stefan Schweigert" Henning Trog Markus Weidmann
Contrabassoon Marion Reinhard
Horns
Stefan Dohr Norbert Hauptmann Stefan de Leval Jezierski Manfred Klier Fergus McWilliam Georg Schreckenberger Klaus Wallendorf
Trumpets Martin Kretzer Thomas Clamor Georg Hilser Robert Platt
Trombones
Prof. Christhard Gossling Hermann Baumer Siegfried Cieslik OlafOtt
Tuba
Paul Hiimpel
Timpani Rainer Seegers Wieland Welzel
Percussion Fredi M tiller Franz Schindlbeck Ian Schlichte Prof. Gernot Schulz
Harp
Marie-Pierre Langlamet
Chairmen Peter Riegelbauer Rudolf Watzel
Orchestra Committee Hans Wolgang Diinschede Helmut Mebert Christian Stadelmann
Andreas Wittmann Ulrich Wolff
Principals
UMS
presents
Moondrunk
A Da Camera of Houston Production
Erlkonig
Johann Wolfgang von Goethe
Wer reitet so spat durch Nacht und Wind Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fafit ihn sicher, er halt ihn warm.
Mein Sohn, was birgst du so bang dein
Gesicht --
Siehst, Vater, du den Erlkonig nicht Den Erlenkonig mit Kron und Schweif -Mein Sohn, es ist ein Nebelstreif. --
Du liebes Kind, komm, geh mit mir! Gar schone Spiele spiel ich mit dir; Manch bunte Blumen sind an dem Strand, Meine Mutter hat manch gulden Gewand.
Mein Vater, mein Vater, und horest du nicht, Was Erlenkonig mir Ieise verspricht --
Sei ruhig, bleibe ruhig, mein Kind: In diirren Blattern sauselt der Wind. --
Willst, feiner Knabe, du mit mir gehn Meine Tochter sollen dich warten schon; Meine Tochter fuhren den nachtlichen Reihn Und wiegen und tanzen und singen dich ein.
Erl-king
Who rides so late through night and wind
It is the father with his child;
he has his arm about the boy,
he holds him safe, he keeps him warm.
"My son, why hide your face in such
fear"--
"Father, the Erl-king, don't you see The Erl-king in crown and robes"-"My son, it is a streak of mist."--
'Dear child, come, come go with me, wonderful games will I play with you; many fair flowers are on the shore, my mother has many a garment of gold.'
"My father, my father, don't you hear what the Erl-king softly promises me"--
"Be quiet, stay quiet, my child: the rustle it is of dry leaves in the wind."--
'Will you, fine boy, come with me My daughters shall take good care of you; my daughters lead our nightly dance, they'll rock and dance and sing you to sleep.'
Mein Vater, mein Vater, und siehst du
nicht dort Erlkonigs Tochter am diistern Ort --
Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. --
Ich Hebe dich, mich reizt deine schone
Gestalt; Und bist du nicht willig, so brauch ich
Gewalt.
Mein Vater, mein Vater, jetzt faCt er mich an! Erlkonig hat mir ein Leids getan! --
Dem Vater grauset's, er reitet geschwind, Er halt in Armen das achzende Kind, Erreicht den Hof mit Miihe und Not; In seinen Armen das Kind war tot.
"My father, my father, don't you see
the Erl-king's daughters there in the
gloom"--
"My son, my son, I see very well: it is the old willows gleaming so grey."--
'I love you. Your beauty excites me;
if you're not willing, I'll take you by
force.'
"My father, my father, he seizes me! The Erl-king has hurt me ..."--
The father shudders, swiftly he rides, the moaning child he holds in his arms; he gains the manor in great distress; in his arms the child was dead.
Thrice Seven Poems
From Albert Giraud's Pierrot Lunaire
Part I
Mondesi runken
Den Wein, den man mit Augen trinkt, Giesst Nachts der Mond in Wogen nieder, Und eine Springflut uberschwemmt Den stillen Horizont.
Geliiste, schauerlich und suss, Durchschwimmen ohne Zahl die Fluten!
Den Wein, den man mit Augen trinkt, Giesst Nachts der Mond in Wogen nieder.
Der Dichter, den die Andacht treibt, Berauscht sich an dem heilgen Tranke, Gen Himmel wendet er verziickt Das Haupt und taumelnd saugt und
schlurft er Den Wein, den man mit Augen trinkt.
Moondrunk
The wine that through the eyes is drunk, at night the moon pours down in torrents, until a spring-flood overflows the silent far horizon.
Desires, shuddering and sweet, are swimming through the flood
unnumbered!
The wine that through the eyes is drunk, at night the moon pours down in torrents.
The poet, whom devotion drives, grows tipsy on the sacred liquor, to heaven turning his enraptured gaze and reeling, sucks and slurps up
the wine that through the eyes is drunk.
Colombine
Des Mondlichts bleiche Bliiten, Die weissen Wunderrosen, Bliihn in den Julinachten -O brach ich eine nur!
Mein banges Leid zu lindern, Such ich am dunklen Strome Des Mondlichts bleiche Bliiten, Die weissen Wunderrosen.
Gestillt war all mein Sehnen, Diirft ich so marchenheimlich, So selig leis -entblattern Auf deine braunen Haare Des Mondlichts bleiche Bliiten!
Der Dandy
Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krytstallnen
Flakons
Auf dem schwarzen, hochheiligen Waschtisch Des schweigenden Dandys von Bergamo.
In tonender, bronzener Schale Lacht hell die Fontane, metallischen
Klangs.
Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen
Flakons.
Pierrot mit dem wachsernen Antlitz Steht sinnend und denkt: wie er heute
sich schminkt
Fort schiebt er das Rot und des Orients Grain Und bemalt sein Gesicht in erhabenem Stil Mit einem phantastischen Mondstrahl.
Columbine
The moonlight's pallid blossoms, the white and wondrous roses, bloom in July's nights -oh, could I pluck but one!
My heavy load to lighten in darkling streams I search for the moonlight's pallid blossoms, the white and wondrous roses.
Then stilled were all my yearning,
could I, as in a fable,
so tenderly -but scatter
upon your brown tresses
the moonlight's pallid blossoms!
The Dandy
And with a fantastical light-beam
the moon sheds a light on the crystalline
flask
on the ebony, highly sacred washstand of the tactiturn dandy from Bergamo.
In sonorous, bronzen basin
laughs brightly the fountain's metallical
cry.
And with a fantastical light-beam the moon sheds a light on the crystalline
flask.
Pierrot with waxen complexion
stands musing and thinks: what makeup
for today
Rejecting the red and the orient green, he bedizens his face in a high noble style and with a fantastical moonbeam.
Eine blasse Wascherin
Eine blasse Wascherin
Wascht zur Nachtzeit bleiche Tiicher,
Nackte, silberweisse Arme
Streckt sie nieder in die Flut.
Durch die Lichtung schleichen Winde,
Leis bewegen sie den Strom.
Eine blasse Wascherin
Wascht zur Nachtzeit bleiche Tiicher.
Und die sanfte Magd des Himmels, Von den Zweigen zart umschmeichelt, Breitet auf die dunklen Wiesen Ihre lichtgewobnen Linnen -Eine blasse Wascherin.
Valse de Chopin
Wie ein blasser Tropfen Bluts Farbt die Lippen einer Kranken, Also ruht auf diesen Tonen Ein vernichtungssiichtger Reiz.
Wilder Lust Akkorde storen Der Verzweiflung eisgen Traum -Wie ein blasser Tropfen Bluts Farbt die Lippen einer Kranken.
Heiss und jauchzend, suss und
schmachtend,
Melancholisch dustrer Walzer, Kommst mir nimmer aus den Sinnen! Haftest mir an den Gedanken, Wie ein blasser Tropfen Bluts!
Madonna
Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse! Blut aus deinen magern Briisten Hat des Schwertes Wut vergossen.
A Pallid Laundrymaid
See a pallid laundrymaid washing nightly faded linen; naked, silver-whitish arms stretching downward in the flood.
Through the clearing gentle breezes lightly ruffle up the stream. See a pallid laundrymaid washing nightly faded linen.
And the tender maid of heaven, by the branches softly fondled, lays out on the darkling meadows all her linen woven of moonbeams -see a pallid laundrymaid.
Valse de Chopin
As a pallid drop of blood stains the lips of a consumptive, so there lurks within this music morbid soul-destructive charm.
Wild accords of passion breaking desperation's icy dream -as a pallid drop of blood stains the lips of a consumptive.
Fierce, triumphant, sweet and
yearning,
melancholy somber waltzing, you will never leave my senses, cling to each thought as I think it, as a pallid drop of blood!
Madonna
Rise, O Mother of all Sorrows,
on the altar of my verses!
Blood pours forth from withered bosom
where the cruel sword has pierced it.
Deine ewig frischen Wunden Gleichen Augen, rot und offen. Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse!
In den abgezehrten Handen Haltst du deines Sohnes Leiche, Ihn zu zeigen aller Menschheit -Doch der Blick der Menschen meidet Dich, o Mutter aller Schmerzen!
Der kranke Mond
Du nachtig todeskranker Mond Dort auf des Himmels schwarzem Pfiihl, Dein Blick, so fiebernd iibergross, Bannt mich wie fremde Melodic
An unstillbarem Liebesleid
Stirbst du, an Sehnsucht, tief erstickt.
Du nachtig todeskranker Mond
Dort auf des Himmels schwarzem Pfiihl.
Den Liebsten, der im Sinnenrausch Gedankenlos zur Liebsten geht, Belustigt deiner Strahlen Spiel -Dein bleiches, qualgebornes Blut, Du nachtig todeskranker Mond.
And thine ever-bleeding wounds seem like eyes, red and open. Rise, O Mother of all Sorrows, on the altar of my verses!
In thy torn and wasted hands holding thy Son's holy body, thou revealest Him to all mankind -but the eyes of men are turned away O Mother of all Sorrows!
The Sick Moon
O somber deathly-stricken moon lying on heaven's dusky pillow, your gaze, so wide-eyed, feverish, charms me, like far-off melody.
Of unappeasable pain of love you die, of yearning, choked to death. O somber deathly-stricken moon lying on heaven's dusky pillow.
The lover, with his heart aflame, who heedless goes to meet his love, rejoices in your play of light -your pallid, pain-begotten blood, O somber deathly-stricken moon.
Part II Nacht
Finstre, schwarze Riesenfalter Toteten der Sonne Glanz. Ein geschlossnes Zauberbuch, Ruht der Horizont -verschwiegen.
Aus dem Qualm verlorner Tiefen Steigt ein Duft, Erinnrung mordend! Finstre, schwarze Riesenfalter Toteten der Sonne Glanz.
Night
Black gigantic butterflies have blotted out the shining sun. Like a sorcerer's sealed book, the horizon sleeps -in silence.
From the murky depths forgotten vapors rise to murder memory! Black gigantic butterflies have blotted out the shining sun.
Und vom Himmel erdenwarts Senken sich mit schweren Schwingen Unsichtbar die Ungetiime Auf die Menschenherzen nieder ... Finstre, schwarze Riesenfalter.
Gebet an Pierrot
Pierrot! Mein Lachen Hab ich verlernt! Das Bild des Glanzes Zerfloss -Zerfloss!
Schwarz weht die Flagge Mir nun vom Mast. Pierrot! Mein Lachen Hab ich verlernt!
O gieb mir wieder, Rossarzt der Seele, Schneemann der Lyrik, Durchlaucht vom Monde, Pierrot -mein Lachen!
Raub
Rote, furstliche Rubine, Blutge Tropfen alten Ruhmes, Schlummern in den Totenschreinen, Drunten in den Grabgewolben.
Nachts, mit seinen Zechkumpanen, Steigt Pierrot hinab -zu rauben Rote, furstliche Rubine, Blutge Tropfen alten Ruhmes.
Doch da -strauben sich die Haare, Bleiche Furcht bannt sie am Platze: Durch die Finsternis -wie Augen! -Stieren aus den Totenschreinen Rote, furstliche Rubine.
And from heaven toward the earth sinking down on heavy pinions, all unseen descend the monsters to the hearts of men below here... Black gigantic butterflies.
Prayer to Pierrot
Pierrot! My laughter have I unlearnt! The dream of radiance dispersed -dispersed!
Black waves the banner upon the mast. Pierrot! My laughter have I unlearnt!
O now return me, soul's veterinarian, Snowman of Lyric, Your Lunar Highness, Pierrot -my laughter!
Theft
Redly gleaming princely rubies, bleeding drops of ancient glory, slumber in the dead men's coffins, buried in the vaults below us.
Nights, alone with his companions, Pierrot descends -to plunder redly gleaming princely rubies, bleeding drops of ancient glory.
But then -suddenly they're rooted, scared to death, hair standing straight up: through the darkness -like eyes! -staring from the dead men's coffins redly gleaming princely rubies.
Rote Messe
Zu grausem Abendmahle, Beim Blendeglanz des Goldes, Beim Flackerschein der Kerzen, Naht dem Altar -Pierrot!
Die Hand, die gottgeweihte, Zerreisst die Priesterkleider Zu grausem Abendmahle Beim Blendeglanz des Goldes.
Mit segnender Gebarde Zeigt er den bangen Seelen Die triefend rote Hostie: Sein Herz -in blutgen Fingern ? Zu grausem Abendmahle!
Galgenlied
Die diirre Dime Mit langem Halse Wird seine letzte Geliebte sein.
In seinem Hirne Steckt wie ein Nagel Die diirre Dime Mit langem Halse.
Schlank wie die Pinie Am Hals ein Zopfchen -Wolliistig wird sie Den Schelm umhalsen, Die diirre Dime!
Red Mass
To gruesome grim communion, by blinding golden glitter, by flickering shine of candles, comes to the altar -Pierrot!
His hand, to God devoted, tears wide the priestly vestment. At gruesome grim communion, by blinding golden glitter.
He makes the sign of the cross
blessing the trembling, trembling people,
with trickling crimson wafer:
his heart -in bloody fingers --
at gruesome grim communion!
Gallows Song
The haggard harlot whose neck is scrawny will be the last of his mistresses.
And in his skull she'll stick like a needle, the haggard harlot whose neck is scrawny.
Slim as a pinetree, she has a pigtail -gaily she'll bind it around his neck, the haggard harlot!
Enthauptung
Der Mond, ein blankes Tiirkenschwert Auf einem schwarzen Seidenkissen, Gespenstisch gross -draut er hinab Durch schmerzensdunkle Nacht.
Pierrot irrt ohne Rast umher Und starrt empor in Todesangsten Zum Mond, dem blanken Tiirkenschwert Auf einem schwarzen Seidenkissen.
Es schlottern unter ihm die Knie, Ohnmachtig bricht er jah zusammen. Er wahnt: es sause strafend schon
Auf seinen Siindenhals hernieder Der Mond, das blanke Tiirkenschwert.
Die Kreuze
Heilge Kreuze sind die Verse, Dran die Dichter stumm verbluten, Blindgeschlagen von der Geier Flatterndem Gespensterschwarme!
In den Leibern schwelgten Schwerter, Prunkend in des Blutes Scharlach! Heilge Kreuze sind die Verse, Dran die Dichter stumm verbluten.
Tot das Haupt -erstarrt die Locken -Fern, verweht der Larm des Pobels. Langsam sinkt die Sonne nieder, Eine rote Konigskrone. -Heilge Kreuze sind die Verse!
Beheading
The moon, a shining Turkish sword upon a black and silken cushion, and spectral vast -hangs like a threat in sorrow-darkened night!
Pierrot restlessly roams about and stares on high in deathly fear at the moon, a shining Turkish sword upon a black and silken cushion.
And shaking, quaking at the knees oh, suddenly he faints, collapses, convinced that there comes whistling
down
upon his sinful guilty neck the moon, a shining Turkish sword.
The Crosses
Holy crosses are the verses, whereon poets bleed in silence, blinded by a flock of vultures fluttering round in spectral swarms!
In their bodies swords have feasted, glorying in their robes of scarlet! Holy crosses are the verses whereon poets bleed in silence.
Dead the head -matted the tresses ? far and faint the noisy people. Slowly sinks the sun in splendor, like a crimson kingly crown -holy crosses are the verses!
Part III Heimweh
Lieblich klagend -ein krystallnes
Seufzen --
Aus Italiens alter Pantomime, Klingts heriiber: wie Pierrot so holzern, So modern sentimental geworden.
Und es tont durch seines Herzens Wuste, Tont gedampft durch alle Sinne wieder, Lieblich klagend -ein kristallnes Seufzen Aus Italiens alter Pantomime.
Da vergisst Pierrot die Trauermienen! Durch den bleichen Feuerschein des
Mondes, Durch des Lichtmeers Fluten -schweift
die Sehnsucht
Kiihn hinauf, empor zum Heimathimmel, Lieblich klagend -ein krystallnes Seufzen!
Gemeinheit!
In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert, Bohrt Pierrot mit Heuchlermienen, Zartlich -einen Schadelbohrer!
Darauf stopft er mit dem Daumen Seinen echten tiirkshen Tabak In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert!
Dann dreht er ein Rohr von Weichsel Hinten in die glatte Glatze Und behaglich schmaucht und pafft er Seinen echten tiirkschen Tabak Aus dem blanken Kopf Cassanders!
Nostalgia
Sweet lamenting -like a crystal
sighing --
rises from the old Italian comedy, sadly asking: Why's Pierrot so wooden, in the sentimental modern manner
And it echoes through his heart's desert, echoes mutedly through all his senses -sweet lamenting -like a crystal sighing rising from the old Italian comedy.
Then Pierrot forgets his tragic manner! Through the silver fiery glow of
moonlight, through a flood of radiance -swells his
yearning,
boldly soars on high to skies of homeland, sweet lamenting -like a crystal sighing!
Mean Trick!
In the gleaming skull of Cassander, who shrieks and cries blue murder, bores Pierrot with hypocritic tenderness -a cranium-borer!
And then presses with his finger very genuine Turkish tobacco in the gleaming skull of Cassander, who shrieks and cries blue murder!
Then screwing a cherry pipestem
firmly in the polished surface,
at his ease he puffs away,
puffs on his genuine Turkish tobacco
in the gleaming skull of Cassander!
Parodie
Stricknadeln, blank und blinkend, In ihrem grauen Haar, Sitzt die Duenna murmelnd, Im roten Rockchen da.
Sie wartet in der Laube, Sie liebt Pierrot mit Schmerzen, Stricknadeln, blank und blinkend, In ihrem grauen Haar.
Da plotzlich -horch! -ein Wispern! Ein Windhauch kichert leise: Der Mond, der bose Spotter, Afft nach mit seinen Strahlen -Stricknadeln, blink und blank.
Der Mondfleck
Einen weissen Fleck des hellen Mondes Auf dem Riicken seines schwarzen
Rockes,
So spaziert Pierrot im lauen Abend, Aufzusuchen Gliick und Abenteuer.
Plotzlich stort ihn was an seinem
Anzug, Er besieht sich rings und findet
richtig --
Einen weissen Fleck des hellen Mondes Auf dem Riicken seines schwarzen
Rockes.
Warte! denkt er: das ist so ein Gipsfleck! Wischt und wischt, doch -bringt ihn
nicht herunter!
Und so geht er, giftgeschwollen, weiter, reibt und reibt bis an den friihen
Morgen -Einen weissen Fleck des hellen Mondes.
Parody
Knitting needles, brightly twinkling, stuck in her graying hair, sits the Duenna mumbling, wearing her short red dress.
She's waiting in the arbor, she loves Pierrot with anguish. Knitting needles, brightly twinkling, stuck in her graying hair.
But sudden -hark -a whisper! --
a wind-puff titters softly:
the moon, that cruel mocker,
is mimicking with moonbeams --
knitting needles twinkling bright.
The Moonfleck
With a snowy fleck of shining moonlight on the back side of his smart new
frockcoat,
so sets forth Pierrot one balmy evening, in pursuit of fortune and adventure.
Sudden something's wrong with his
appearance, he looks round and round and then he
finds it --
there's a snowy fleck of shining moonlight on the back side of his smart new
frockcoat.
Hang it! Thinks he: a speckle of plaster! Wipes and wipes, but -he can't make it
vanish!
On he goes, his pleasure has been ruined, rubs and rubs until it's almost
morning -at a snowy fleck of shining moonlight.
Serenade
Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche, Wie der Storch auf einem Beine, Knipst er triib ein Pizzicato.
Plotzlich naht Cassander -wiitend ob des nachtigen Virtuosen -Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche.
Von sich wirft er jetzt die Bratsche: Mit der delikaten Linken Fasst er den Kahlkopf am Kragen -Traumend spielt er auf der Glatze Mit groteskem Riesenbogen.
Heimfahrt
Der Mondstrahl ist das Ruder, Seerose dient als Boot: Drauf fa'hrt Pierrot gen Siiden Mit gutem Reisewind.
Der Strom summt tiefe Skalen Und wiegt den leichten Kahn. Der Mondstrahl ist das Ruder, Seerose dient als Boot.
Nach Bergamo, zur Heimat, Kehrt nun Pierrot zuriick; Schwach dammert schon im Osten Der griine Horizont. -Der Mondstrahl ist das Ruder.
Serenade
With a bow grotesquely monstrous scrapes Pierrot on his viola. Like a stork on one leg standing, sadly plucks a pizzicato.
Sudden! Here's Cassander -raging at the nighttime virtuoso -with a bow grotesquely monstrous scrapes Pierrot on his viola.
Then he throws aside viola: with a delicate use of left hand seizes Cassander by the collar -dreaming plays upon his bald head with a bow grotesquely monstrous.
Journey Homeward (Barcarole)
A moonbeam is the rudder, waterlily serves as a boat, and so Pierrot goes southward with a friendly following wind.
The stream hums scales beneath him and rocks the fragile craft. A moonbeam is the rudder, waterlily serves as boat.
To Bergamo, his homeland,
at last Pierrot returns;
soft glimmers rise to eastward,
the green of the horizon.
-A moonbeam is the rudder.
O alter Duft
O alter Duft aus Marchenzeit, Berauschest wieder meine Sinne! Ein narrisch Heer von Schelmerein Durchschwirrt die leichte Luft.
Ein gluckhaft Wunschen macht mich froh Nach Freuden, die ich lang verachtet: O alter Duft aus Marchenzeit, Berauschest wieder mich!
All meinen Unmut geb ich preis; Aus meinem sonnumrahmten Fenster Beschau ich frei die Hebe Welt Und traum hinaus in selge Weiten ... O alter Duft -aus Marchenzeit!
German translations by Otto Erich Hartleben.
O Ancient Scent
O ancient scent from fabled times, once more you captivate my senses! A merry troupe of roguish pranks pervades the gentle air.
With cheerful yearning I return to pleasures I too long neglected.
0 ancient scent from fabled times, once more you captivate me!
All of my gloom I've cast aside; and from my sun-encircled window
1 gladly view the lovely world,
and dreams go forth to greet the distance . O ancient scent -from fabled times!
English translations (from German) by Andrew Porter.
UMS
presents
Moondrunk
A Da Camera of Houston Production
Sarah Rothenberg, Artistic Director Mary Lou Aleskie, Executive Director
Conceived by Sarah Rothenberg
John Kelly, ChoreographyStage Direction Barbara Allen, Assistant Stage Director
Scott Pask, Set Design
Donna Zakowska, Costume Design
Jennifer Tipton, Lighting Design
Lucy Shelton, soprano; Carol Wincenc,7ufe; Igor Begelman, clarinet, Guillermo Figueroa, violin; Paul Kantor, violin; Mahoko Eguchi"1", viola; Andre Emelianoff, cello; Sarah Rothenberg, piano
Pascal Benichou, dancer Barbara Allen, dancer Jon Kinzel, dancer
Program
Johann Strauss,
arr. Arnold Schonbetg
Johann Wolfgang von Goethe
Johannes Brahms
Arnold Schonberg
Schonberg
Brahms
Schonberg
Schonberg
Schonberg
Friday Evening, October 22,1999 at 8:00 Power Center, Ann Arbor, Michigan
Kaiser-Walzer, Op. 437
Wincenc, Begelman, Figueroa, Kantor, Eguchi, Emelianoff, Rothenberg
Benichou, Allen, Kinzel
Erlkpnig
Read by legendary actor Alexander Moissi (Berlin, 1927)
Intermezzo in a minor, Op. 118, No. 1
Andantino in c-sharp minor Andantino grazioso in F Major Intermezzo in e-flat minor, Op. 118, No. 6
Fragment (unfinished) Fragment (unfinished)
from Sechs kleine Klavierstiicke, Op. 19
Langsam Sehr langsam
Rothenberg
INTERMISSION
Schonberg
Pierrot lunaire, Op. 21
Part I
Mondestrunken Moondrunk
Colombine -Colombine
Der Dandy -The Dandy
Eine blasse Wdscherin -A Pallid Laundrymaid
Valse de Chopin Chopin's Waltz
Madonna -Madonna
Der kranke Mond -The Sick Moon
Part II
Nacht--Night
Gebet an Pierrot -Prayer to Pierrot
Raub -Theft
Rote Messe -Red Mass
Galgenlied -Gallows Song
Enthauptung -Beheading
Die Kreuze -The Crosses
Part III
Heimwich -Nostalgia
Gemeinheit! -Mean Trick!
Parodie -Parody
Der Mondfleck -The Moonfleck
Serenade -Serenade
Heimfahrt-Journey Homeward (Barcarolle)
O alter Duft -O Ancient Scent
Shelton, Wincenc, Begelman, Figueroa, Emelianoff, Rothenberg
Benichou, Allen, Kinzel
Please refer to page 9 for an introductory note on Arnold Schoenberg by Peter Laki.
Eleventh Performance of the 121st Season
Thirty-seventh Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Sara Rothenberg for her involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Co-commissioned with the Lincoln Center for the Performing Arts and Society for the Performing Arts.
University of Michigan School of Music faculty member.
+ Eastern Michigan University School of Music faculty member.
Large print programs are available upon request.
Moondrunk
Nearly ninety years after its composition, Arnold Schoenberg's Pierrot lunaire remains one of the most shockingly original and hauntingly imaginative works of the twenti?eth century. First performed in 1912 by an actress and a group of five instrumentalists conducted by the composer, the work's dis?tinctive sprechgesang -a vocal delivery by the narratorsinger which hovers between speaking and singing -takes the composi?tion out of the normal confines of chamber music and lends it a uniquely theatrical flavor.
The work's bizarre texts, originally written in French, are German translations of twenty-one poems by the Belgian poet Albert Giraud (1860-1929). Ranging from the dreamily fantastical to the horrific and macabre, the poems center around the com-media-del-arte character, Pierrot. The figure is at times lunatic clown, suffering artist, egotistical dandy, modern poet. A kind of poetic offspring of Baudelaire's flaneur, who wandered through the streets of Paris, we find here a flaneur of the interior world. Schoenberg structured the work in three sections of seven brief movements each. The first movement of each section, respectively "Moondrunk," "Night," and "Nostalgia," signals the dominant mood to follow. We descend into darkness, with the most frightening section at the work's cen?ter, and then are led back out again towards light.
In the years that I toured as pianist of the Da Capo Chamber Players, I had the opportunity to perform Pierrot repeatedly and to record it with the American soprano Lucy Shelton. The dancing rhythms, expres?sionist imagery, and theatrical "speech-song" aspect of the work made me dream of bringing this piece to the stage in a visual and theatrical setting beyond the conven?tions of the concert hall.
In 1995,1 saw John Kelly's acclaimed dance-theater piece, Pass the Bratwurst, Bitte. Based on the life and work of the expressionist painter Egon Schiele, the piece evoked an aesthetic world to which Schoenberg's Pierrot lunaire also belongs. I was struck by Kelly's sophisticated use of music and his deep kinship with the artistic period of Pierrot, as well as his own distinc?tive artform, which hovers between dance and theater just as the singer of Pierrot hov?ers between song and speech. I knew I had found the artist with whom I wanted to col?laborate on a staging of Schoenberg's Pierrot lunaire.
Where does it come from, this strange musical masterpiece, with its bizarre vocal line neither spoken nor sung and an invent?ed instrumental ensemble neither orchestra nor traditional chamber group With hallu?cinatory texts by an obscure Belgian poet set in a musical language proven to be beyond analysis We look back nearly ninety years to the birth of the modernist movement and find this work that continues to challenge, surprise and disturb. When Schoenberg himself looked back an equivalent number of years at the time of Pierrot lunaire's com?position, he confronted the historical moment that offered the last works of Beethoven and Schubert.
But Schoenberg never discarded the past; he transformed it. Pierrot lunaire, despite its iconoclastic surface, abounds with references to traditional musical forms. The work's creation is deeply rooted in both Viennese cultural history and the fin-de-siede moment in which Schoenberg came of age.
What is more emblematic of Viennese culture than the waltz Johann Strauss' Kaiserwalzer acts as our overture. Schoenberg arranged the popular "Emperor's Waltz" for a tour of Pierrot lunaire in 1925. With no changes to Strauss' familiar harmonic lan?guage, we are introduced to the instrumen?tal mix of flute, clarinet, strings and piano that returns in Pierrot. Pierrot lunaire's
instrumentation of flute, clarinet, violin, cello and piano has become a standard of contemporary music, and lacking a simple name like "string quartet," it is often referred to as the "Pierrot" ensemble. Schoenberg expands the coloristic possibili?ties of these five instruments further by hav?ing the musicians double on piccolo, bass clarinet and viola. He then invents different combinations of instruments for each of the twenty-one movements, with no single combination ever repeated.
In the nineteenth century, a popular artform was that of the melodrama -poet?ic recitation declaimed with musical accom?paniment. It was with this form in mind that the retired actress Albertine Zehme approached Arnold Schoenberg with poems of Giraud, expecting a work for speaker and piano. Schoenberg expanded the project with his request for additional instruments (with each request the production budget rose higher), and with the radical move to invent a way to notate theatrical speech.
When we hear the legendary actor Alexander Moissi's recitation of Goethe's famous poem, Erlkbnig, we hear an example of a stylized form of acting no longer prac?ticed today. The voice moves several octaves, slides, moans and sings; not only dynamics and rhythm, but approximate pitches give expression to the text. Moissi (1879-1935), born in Trieste, acted in Vienna and then at Max Reinhardt's theater in Berlin. He became renowned for his dramatic recita?tions. We know from members of the Kolisch String Quartet, who premiered many of Schoenberg's works, that Schoenberg especially admired Moissi's per?formances. The actor's chilling rendition of Erlkbnig could easily be translated into the notation that Schoenberg developed for the speaker's part in Pierrot.
When reflecting on the composition of Pierrot lunaire, Schoenberg referred to his upbringing in "the Brahmsian culture." His
late essay, "Brahms the Progressive" (1947), sought to dispell Brahms' reputation as a conservative traditionalist. This simplistic view had pitted Brahms against the revolu?tionary Wagner, forcing musicians to choose sides. But Schoenberg's own development owed a great deal to both composers, and he celebrated the innovative aspects of Brahms.
The early piano pieces of 1894 are rare examples of Schoenberg writing in a com?pletely Brahmsian language, with no signal of things to come. The performance of these works and subsequent unfinished piano pieces, up to the "Little Piano Pieces" of 1911, allows us to follow the astounding development of an individual talent, almost as if one were to watch a time-lapsed film of a butterfly emerging from its chrysalis. The large romantic statements move toward intense concentration, distillation; yet expressive gestures remain recognizable, as romanticism transfigured becomes mod?ernism. (Schoenberg once commented, "I have not discontinued composing in the same style and in the same way as at the very beginning. The difference is only that now I do it better than before.")
The final miniatures are masterpieces of abstraction. We are led towards the world of the interior imagination, where dreams overtake reality, where absurdity and satire overlap with nightmare, where shadow and image are one: the surreal and fantastical world of Arnold Schoenberg's Pierrot lunaire.
Program note by Sarah Rothenberg.
Founded in 1987, Da Camera of Houston brings together leading American and international artists, selected specifically for each program, to perform in its subscription series at Houston's Wortham Theater Center and The Menil Collection, as well as its annual series presented in New
York by Great Performers at Lincoln Center. Da Camera programs have appeared at New York's 92nd Street Y and Washington's Kennedy Center for the Performing Arts and on concert series in Seattle, Maryland, North Carolina and across Texas. Under the leadership of Artistic Director Sarah Rothenberg and Executive Director Mary Lou Aleskie, the organization's goals include connecting music to other art forms and the social and political context in which it is composed; expanding the awareness of American music through the presentation of jazz and the commissioning of new compo?sitions; and developing relationships with a wide range of cultural institutions in Houston and throughout the world. Da
Camera has recently been award?ed a special commendation for outstanding programming con?cepts from the 1998 Chamber Music AmericaAmerican Society of Composers, Authors and Publishers (ASCAP) Award for Adventurous Programming.
In 1995, Da Camera of Houston presented the first of its acclaimed "Music and the Literary Imagination" programs, con?ceived and directed by Sarah Rothenberg, on Lincoln Center's Great Performers series. Since the outstanding success of Marcel Proust's Paris, subsequent pro?grams bringing together music with the works of such writers as Franz Kafka, Thomas Mann and Anna Akhmatova have been performed across the country to sold-out houses and widespread critical acclaim. During the 199899 season, these programs were brought to the world's attention in performances at the prestigious International Cervantino Festival in Mexico,
De Ijsbreker series in The Netherlands and the Barbican Centre in London. Moondrunk, Da Camera's original chamber musicdance-theater production, featuring Schoenberg's Pierrot lunaire and music of Brahms and J. Strauss was presented at The New Victory Theater in January 1999 where it opened Lincoln Center's "New Visions" series.
Tonight's performance marks Da Camera of Houston's debut under UMS auspices.
Barbara Allen is a New York City-based choreographerdirector. Her most recent productions include Corn, Carmen and A Midsummer's Dream for the Ridiculous
Theatrical Company and two short ballets for Les Ballets Trocadero de Monte Carlo, an all-male, comic-ballet company. In addition, she has directed The Jungle Book and Moliere's Les Precieuses Ridicules. As a for?mer NEA recipient, Ms. Allen's own style of dancetheater was presented in New York and at festivals in Italy and Austria. She has also choreographed for light opera, film and TV commercials. Ms. Allen is the creator of The Dolls, a new pilot for VH-1. She studied "Clown" with Merry Conway and Philippe Gaulier.
Clarinetist Igor Begelman's virtuosity and imagination on his instrument earned him an impressive list of awards, honors and concert engagements in the US and abroad. Mr. Begelman has appeared as a soloist with the Houston Symphony, L'Orchestre de la Suisse Romande, Bienne Symphony Orchestra, Odense Symphony Orchestra, New Haven Symphony, Jupiter Symphony of New York among others. He made his Paris debut in a solo recital at the Auditorium du Louvre and his New York debut at Carnegie Hall's Weill Recital Hall. Mr. Begelman has also performed recitals in Western and Eastern Europe, Canada, Mexico, Japan and Israel.
Raised in Kiev, Ukraine, Igor Begelman came to the US in 1989. He received his Master's degree from The Juilliard School of Music and a Bachelor's degree from The Manhattan School of Music where he remains the first and only recipient of the Leon Russianoff Memorial Scholarship. His major teachers include Charles Neidich and Stanley Drucker.
Pascal Benichou was born in Provence. Mr. Benichou studied ballet in New York with Vladimir Dokoudovsky and Madame Darvash; theatre with Herbert Berghof and choreography with Lucia Diugoszewski.
Mr. Benichou was a lead dancer with The Chicago City Ballet, The San Francisco
Ballet and The Joffrey Ballet. He has worked as a guest dancer with The Saint Louis Ballet; Donald ByrdThe Group; Tokyo's Bay City Ballet; The Metropolitan Opera; The Chicago Lyric Opera, and The New York City Opera.
Mr. Benichou's roles include Phlegmatic in Balanchine's Four T's; The Head Wrangler in Agnes De Mille's Rodeo; the lead in William Forsyth's In the Middle Somewhat Elevated; The Prince in The Nutcracker, Tybalt in Cranko's Romeo and Juliet; Passion in Massine's Les Presages; the lead in Charlie Moulton's Panaramogram; Prayer a solo by Alonso King; Gardens ofVillandry by Martha Clark and Return to a Strangeland by Jill Kylian.
Mr. Benichou has especially enjoyed dancing with Suzanne Farrel in Paul Mejia's Eight ByAdler broadcasted on PBS. He has partnered Liliane Montavechi in a Cole Porter gala at Carnegie Hall and performed a solo of his own choreography with Philip Glass.
In February 1998 Mr. Benichou was the only male dancer to participate in The Opening Ceremonies of the Olympics in Nagano, Japan. An important work danced by Mr. Benichou is an hour long modern solo Taking Time to Be Vulenerable created by Lucia Dlugoszewski that was selected one of the ten best works of 1998 by Francis Mason, editor in chief of Ballet Review.
Mr. Benichou has had the pleasure to be a guest ballet teacher at The New York Conservatory of Dance, Sara Lawrence College, Hofstra University and Broadway Dance Center.
Violinist Mahoko Eguchi was a finalist of the first International String Quartet Competition of Bordeaux. She has per?formed throughout the US and Japan, as well as in France, Italy, Austria, Switzerland, Brazil, and Argentina. She has appeared in performances at festivals such as Strings-in-the-Mountains, Tanglewood, Taos, Spoleto,
Norfolk, and Moonbeach (Japan), and in chamber music series such as the Japan Airline Young Artists Series, the MIT Chamber Music Series, the Fermilab Chamber Music Series, Chicago's Mostly Music Series, the Chamber Music Society of Williamsburg, and the Doheny Soiree Series in Los Angeles. Ms. Eguchi has been heard on live broadcast performances from Osaka, Japan, on Chicago's prestigious Dame Myra Hess Series, and on NPR's Performance Today program. She has also been a member of orchestras such as the New World Symphony, the New Haven Symphony, the Tanglewood Music Center Orchestra, and was a concertmistress at the Spoleto Festival. She received her degrees from Indiana University, Yale University, and Northern Illinois University, where she studied with Henryk Kowalski, Josef Gingold, Syoko Aid, and Richard Young.
Cellist Andre Emelianoff is widely known for his innovative recital programs, inter?weaving new works, neglected older works, and the classics of the cello repertoire. He has commissioned and premiered numerous works by composers Joan Tower, Shulamit Ran, George Perle, Aaron Kernis, Stephen Jaffe and Richard Wernick, and premiered works by Elliot Carter, Dmitri Shostakovich, Sofia Gubaidulina, Henry Martin, and John Knowles Paine. A winner of a 1985 NEA Solo Recitalists award, Mr. Emelianoff appeared as concerto soloist and is principal cellist of the New York Chamber Symphony under Gerard Schwarz since 1980. He was formerly a member or the Cleveland Orchestra under George Szell and Pierre Boulez.
Mr. Emelianoff is cellist of the Aeolian Chamber Players, in residence at Bowdoin Summer Music Festival, and featured at the Salzburg Mozarteum with George Crumb. He has been guest artist at Houston Da Camera. Lincoln Center Chamber Music
Society, Chamber Music at the Y, Suzuki and Friends (Indianapolis) and the SiYo Foundation (NY). Mr. Emelianoff is cellist of the Da Capo Chamber Players, in resi?dence at Bard College. He has performed with Garrick Ohlsson, Jaime Laredo, Dawn Upshaw, Richard Goode, Hermann Prey and Benita Valente and recently toured and gave masterclasses in Russia. He has record?ed for RCA, Nonesuch, Gunmar, Argo, CRI, Gasparo and Bridge Records. Mr. Emelianoff is on the faculty of The Julliard School and Pre-College. Mr. Emelianoff has performed at the Salzburg Festival and teaches summer courses at the Mozarteum.
Violinist and conductor Guillermo Figueroa is one of the most versatile musicians of his generation. As a member of the Orpheus Chamber Orchestra since 1973, Mr. Figueroa has been concertmaster and soloist in criti?cally acclaimed performances throughout the world, and on numerous Deutsche Grammophon recordings. Mr. Figueroa gave the world premiere of Mario Davidovsky's Concertino with Orpheus at Carnegie Hall (April 1995) and recently gave the New York premiere of John Adams' Violin Concerto with the New York City Ballet (June 1995).
Mr. Figueroa has collaborated with his sister, pianist Yvonne Figueroa, in recitals at Alice Tully Hall and Merkin Hall in New York, throughout the US, Spain, and in his native Puerto Rico. He made his Lincoln Center conducting debut in December 1994, leading the New York City Ballet in The Nutcracker. Appointed Concertmaster of the New York City Ballet Orchestra in 1992, he has also left his chair to conduct Stravinsky's The Firebird, and to appear frequently as a soloist, including on-stage with Mikhail Baryshinikov in Stravinsky's Duo concertante and playing the violin concertos of Barber, Brahms and Berg.
Mr. Figueroa was appointed Principal Guest Conductor of the Puerto Rico
Symphony in 1993 and has also led the El Salvador and Icelandic Symphony Orchestras. He recently released a recording of romantic violin favorites, featuring Wieniawski's Scherzo-Tarantelle and Kreisler's Liebesleid (Golden String label).
Violinist Paul Kantor, Chair of the String Department at the University of Michigan School of Music, has appeared as concerto soloist with a dozen symphony orchestras, has served as concertmaster of several orchestral ensembles including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra, and Great Lakes Festival Orchestra, and has been guest concertmaster of the New Japan Philharmonic and of the Toledo Symphony Orchestra. He has been especially active as a chamber musician with such groups as the
New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble. His performances of the music of Bartok, Pearle, and Zwilich may be heard on the CRI, Delos, and Mark Records labels. Mr. Kantor held concurrent appointments at Yale University (1981-88), the New England Conservatory (1984-88) and The Juilliard School (1985-88). Since 1980 he has spent summers as a member of the artist-faculty at Aspen, where he was concertmaster of both the Chamber Symphony and the Festival Orchestra. Mr. Kantor attended the Juilliard School, where he earned both bach?elor and master of music degrees and stud?ied during the summers at both Aspen and Meadowmount. His principal teachers are Margaret Graves, Dorothy DeLay and Robert Mann.
Choreographer John Kelly creates both solo and ensemble multi-media dance theater works which include choreography, visual designs, film sections and both solo and ensemble vocal work and song. As a choreo?grapher and director he has received two BESSIE (New York Dance and Performance) Awards, two OBIE Awards, an American Choreographer Award, a Guggenheim Fellowship and five consecutive Choreographer Fellowships from the National Endowment for the Arts.
As a singer, Mr. Kelly has studied at the Academia Musicale Ottorino Respighi in Assisi, Italy; he has performed three solo vocal recitals at Weill Recital Hall, Carnegie Hall, including Her Tender Moment (1991), Arias I Love (1992) and Want Your Myth (1993), as well as Far Cry from Bliss (1994) at St. Marks Church. He recently completed a highly successful run of Paved Paradise, his homage to the work of Joni Mitchell.
As a director of opera he directed a critically acclaimed production of Matthew Locke's Baroque masque Cupid and Death at Opera at the Academy in 1993. He recently recorded two songs written especially for him for the Jazz Passenger's In Love CD on the Wyndham HillHigh Street label.
As a dancer and performer he has worked with the companies of Charles Weidman, Martha Clarke and Ishmael Houston-Jones. He played roles in the films Sublet and Wigstock. During the 1998 season, John Kelly & Company will present a re-working of a work from its repertoire, Find My Way Home.
Choreographer and improviser Jon Kinzel creates solo and ensemble work. He has collaborated with composers Viv Stoll, Jonathan Bepler and Tom Farrell on original songs and scores, most recently with Viv Stoll, and visual artist Bob Ajar, on an evening-length solo, Who has a Bill pre?sented at Menagerie de Verre in Paris. Often
the "construction" of a set is performed; for example, using colored adhesive tape to create a 3-D line drawing. He has taught composition and technique at many levels. His work has been presented at the Kitchen, PS 122, NY Improvisation Festival, Danspace Project at St. Mark's Church, Dixon Place, Solo Arts Group Inc., The Knitting Factory, HKaret Cabaret, Gowanus Arts Exchange, Life on Mars at Mother, Movement Research at the Judson Church, and the Cartier Foundation in Paris. He has danced with many choreographers includ?ing CreachKoester, Susan Braham, Yoshiko Chuma, Jeremy Nelson, John Jasperse, Maureen Ellenhorn, Lance Greis, David Alan Harris, Agnes Bonoit, Rachid Ovramdane, Chris Dohse, Jeanine Durning, Hope Clark, Cydney Wilkes, and currently with John Kelly. He is a 199899 Movement Research artist in residence.
Set designer Scott Pask has recently worked on projects including the scenic design for Kia Corthron's Splash Hatch on the E Going Down for New York Stage & Film, Julie McKee's The Adventure of Amy Bock directed by Stan Wojewodski Jr., at the Yale Repertory, and the international tour of Chamecki Lerner's Antonio Caido. His work in film includes the art direction of Tom Dicilio's Living in Oblivion, Steve McLean's Postcards from America, and assistant production design of Steve Buscemi's Trees Lounge. His upcoming work includes Godmother Radio and Marlowe's Massacre at Paris adapted and directed by Roman Paska for Theatre 71 Malakoff, Paris; Bebe Miller's Going to the Wall; and John Kelly's Find My Way Home. Mr. Pask is a graduate of the Yale School of Drama.
Sarah Rothenberg, pianist, enjoys one of the most creative careers of her generation. As artistic director of Da Camera of Houston, a post she assumed in 1994, Ms. Rothenberg has received international attention for her riveting performances in unique programs that she conceives and directs. Previously, Ms. Rothenberg co-founded the innovative Bard Music Festival. She was member-pianist of the Da Capo Chamber Players from 1985-94, and in 1987 the group was awarded the first ASCAP Award for Adventurous Programming. Ms. Rothenberg received a prestigious National Endowment for the Arts Solo Recitalist grant in 1994. In 1996, her US premiere recording of Fanny Mendelssohn's Das Jahr received the "Best Solo Classical Performance" award from the Association of Independent Recording Companies. In 1999, she received the medal of the Order of Arts and Letters, with the distinction of Chevalier, from the govern?ment of France.
The 1998-99 season included Ms. Rothenberg's debut at the Aldeburgh Festival, England and the Teatro Municipal in Santiago, Chile, in addition to other major international performances. In The Netherlands, she performed and directed an eight-concert series presented by De Ijsbreker in Amsterdam and Maastricht, featuring the European premiere of her acclaimed Music and the Literary Imagination series, originally created for Da Camera. Ms. Rothenberg also performed and directed St. Petersburg Legacy at the Barbican Centre in London and Marcel Proust's Paris at the Cervantino International Festival in Mexico. In New York, Lincoln Center presented her most recent Da Camera of Houston produc?tion, Moondrunk. Co-commissioned by Lincoln Center, Moondrunk opened Lincoln Center's New Visions in January 1999. Other performances included appearances with members of the Juilliard, American and
Schoenberg string quartets and a return engagement at Washington's Kennedy Center.
In addition to Das fahr, Ms. Rothenberg's discography includes Rediscovering the Russian Avant Garde 1912-1925 (GM Recordings) and Schoenberg's Pierrot lunaire (Bridge), as well as record?ings for the BBC, CRI, and, with the Orpheus Chamber Orchestra for Deutsche Grammophon. She has premiered over sev?enty-five works in the US by such leading composers as George Perle, Joan Tower, Shulamit Ran, Gunther Schuller, Nicholas Maw, Richard Wilson, Elena Firsova and George Tsontakis. Her writings on cultural subjects have been published by The Musical Quarterly, World Policy Journal, Keyboard Classics and most recently in The Crisis of Criticism. Ms. Rothenberg is a Senior Fellow of the Vera List Center for Art and Politics at New School University in New York.
Lucy Shelton's consummate musicianship and enthusiasm for exploring uncharted musical territories, developed in her early years with studies of piano and flute and later nurtured by her mentor Jan de Gaetani, have brought her special recognition as a leading exponent of the twentieth-century repertory, as well as one of the pre-eminent American concert singers of our day.
Highlights of recent years include per?formances of Boulez's Le Visage Nuptial with the Chicago Symphony, Los Angeles Philharmonic and London Symphony Orchestras, conducted by the composer, the role of Jenifer in Tippett's The Midsummer Marriage for Thames TV, and her New York Philharmonic debut in Knussen's Whitman Settings with Knussen conducting. She made her debuts in Vienna and Berlin performing Kurtag's The Sayings of Peter Bornemisza with Andras Schiff, and has sung Nono's II Canto Sospeso in London and at the Holland and Salzburg Festivals. Ms. Shelton has the
distinction of being the only artist to have received two Naumburg awards (for cham?ber music and solo singing).
Recently released CDs featuring Ms. Shelton include Schoenberg's Pierrot Lunaire and Herzgewachse with the Da Capo Chamber Players on Bridge Records, and new works by Goehr on Unicorn-Kanchana and Knussen for the Virgin Classics label.
Lighting designer Jennifer Tipton is well-known for her work in theater, dance and opera. Her recent work in opera includes Beatrice et Benedict in Santa Fe and Hansel und Gretel for the Welsh National Opera; in theater, Brecht's Galileo at the Yale Repertory Theater and The Wooster Group's Houselights; in dance, Twyla Tharp's Known by Heart for the American Ballet Theater. Ms. Tipton also teaches lighting at Yale School of Drama.
Flutist Carol Wincenc, winner of the 1978 Naumburg Solo Flute Competition and a frequent guest of major orchestras and festi?vals throughout the US, is a long-time champion of contemporary music. In May 1986, she gave the world premiere of Renaissance Concerto for Flute and Orchestra written for her by Lukas Foss and in January of 1990, gave the world premiere of Joan Tower's new Flute Concerto at Carnegie Hall. The next two seasons saw world premiere performances of other flute commissions.
Ms. Wincenc has always been fascinated by the impact of the flute around the world. In 1985, she created and became artistic director of the first International Flute Festival, presented by the Ordway Theater in Saint PaulMinneapolis. She has been a fre?quent guest at summer festivals and has appeared on numerous occasions in all the major New York concert halls as well as hav?ing collaborated with artists such as Jessye Norman, Arleen Auger, Elly Ameling, Emanuel Ax, Yo-Yo Ma, and the Guarneri,
Tokyo and Cleveland String Quartets. Ever active on the recording front, Ms. Wincenc has recorded works ranging from Mozart to Schoenfield, and collaborated with top artists including the Emerson String Quartet and Andras Schiff. She is presently on the faculty of The Juilliard School of Music and the Shepherd School of Music at Rice University, Houston.
Costume designer Donna Zakowska is known for her work in film, circus, opera and theater. She studied painting at the Ecole des Beaux Arts in Paris and design at the Yale School of Drama. Her recent film credits include One True Thing, Illuminata, Polish Wedding, Harriet the Spy, The Pallbearer, David Salle's Search and Destroy and John Turturro's Mac (Camera d'Or, Cannes), after having worked for several years as assistant designer to Woody Allen (on Radio Days, Alice, Crimes and Misdemeanours, Shadows and Fog). In the?ater, she has designed productions for Arrabal, Richard Foreman, John Kelly, Tom O'Horgan, Roman Paska, Carey Perloff and Julie Taymor, and her work has been seen at the BAM Next Wave Festival, Lincoln Center and the Public Theater (New York), Bobigny and Chatelet (Paris), Teatro Alameda (Seville), Dramaten (Stockholm) and the Abbey Theatre (Dublin). She has designed operas at Juilliard and Virginia Opera, numerous productions for Music-Theatre Group, The Cave and Hindenburg for Steve Reich and Beryl Korot. Her other work includes a world tour for Mick Jagger and nine years at the Big Apple Circus.
UMS
with
O'Neal
Construction
and
Elastizell
Corporation
of America
present
The King's Singers
with
i, Percussion
David Hurley, Countertenor Nigel Short, Countertenor Paul Phoenix, Tenor Philip Lawson, Baritone Gabriel Crouch, Baritone Stephen Connolly, Bass
Program
Gareth Farr
Stanley Glasser Lewis Nkosi
Askell Masson Peter Klatzow
Saturday Evening, October 23,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Street Songs
Taiko Tango
Lalela Zulu
Ilihubo
Mambabo!
Lala Mntwana
Uhambo Ngesitimela
Egoli
Umdanso Wasegoli
Frum
Return of the Moon
In a Far Off Place Prayer to the New Moon Blue Mist Like Smoke Rainmaking With a Bowstring Song of the Broken String
INTERMISSION
Steve Martland
Nebjosa Zivkovic Peter Louis Van Dijk
Elton JohnLebo M.I Tim Rice
Arr. Andrew Pryce Jackman
Street Songs
Oranges and Lemons Jenny Jones Poor Roger
The Castle of the Mad King Horizons
The Lion King
A Medley of Music from the Tony Award-winning Broadway Production
Twelfth 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.
Special thanks to Joe O'Neal of O'Neal Construction and Leo Legatski of Elastizell Corporation of America for their generous support of the University Musical Society.
Support for this performance is provided in part by media sponsor, WDET. The King's Singers appear by arrangement with IMG Artists. Evelyn Glennie appears by arrangement with ICM Artists.
The King's Singers and Ms. Glennie record exclusively for RCA Victor, RCA Victor Red SealBMG Classics. The King's Singers recordings also available on the EMIAngel label.
Selected King's Singers choral arrangements are available from Hal Leonard Publishing Corp.
Visit Evelyn Glennie on the Internet at www.Evelyn.co.uk.
Visit The King's Singers on the Internet at www.kingssingers.com.
Large print programs are available upon request.
Taiko Tango
Gareth Farr
Taiko Tango was commissioned by Evelyn Glennie in August 1999.
Taiko Tango is one of a series of pieces that I am currently writing with a particular emphasis on the choreographic aspects of percussion. Percussion is an intrinsically movement oriented art form, with consider?able exploitable potential for exciting and energetic movement -especially when performed by visually dynamic artists like Evelyn Glennie.
I see very little difference between the genres of dance and percussion, and have had a lot of fun experimenting with differ?ent combinations of drum strokes and unusual positioning of instruments that force the player to make interesting move?ments as a side effect of the sound.
The tradition of Taiko drumming in Japan is one that I have always been fasci?nated by, not only because of the wonderful sound of the instruments, but also because of the very controlled martial arts-like poses and movements that the players make while drumming.
Taiko Tango is a short rhythmic concert opener, conceived as a quick lusty tango with a voluptuous sextet of drums.
Program note O by Gareth Farr.
Lalela Zulu
Stanley Glasser, Music Lewis Nkosi, Words
Throughout the world, song is a profound and intimate way of telescoping our thoughts and feelings. The combination of word and musical note creates a mysterious contact between singers and listener. It is a
sort of magic. More than any other musical instrument, the human voice is surely the most expressive. The great English Tudor composer, William Byrd, wrote, "Since singing is so good a thing, I wish all men would learn to sing."
If France popularly conjures up the piano accordion, Scotland the bagpipes, Spain the guitar, India the sitar, then the unaccompanied choral group is the "instru?ment" of South Africa. Composed in 1977 by two South African exiles living in London during apartheid, Lalela Zulu is pertinent today in South Africa as well as having its evergreen universal appeal.
Lalela Zulu, colloquially translated as "listen to things Zulu," is a parade of expres?sions -a set of six miniatures that portray different aspects of black life in the city of Johannesburg. These songs illustrate that the will to live drives its way through the most difficult of conditions so that suffering and high spirits will often stand alongside one another.
"Ilihubo" (Chant) characterizes a chant by a Zulu dance team, perhaps a hundred strong, as it surges into the dance arena -utterly thrilling to watch. "Mambabo!" (Wow!) -an exclamation of pleasure when a young man sees a girl strolling gracefully. In "Lala Mntwana" (Sleep, my child) a mother sings tenderly to her baby; that evening fatherhusband has left to seek work in the city; who knows if he will ever return. "Uhambo Ngesitimela" (Go! Steam Train!) is what Zulus may say when riding on a train that is late; Zulus like to urge on mov?ing things -buses and trains, even gangs of workmen. "Egoli" (Place of Gold) is a sad song in the Zulu hymn tradition, describing Johannesburg, South Africa's largest city, as a place of toiling masses, of no friends, of police and lawless beasts. "Umdanso Wasegoli" captures the exuberance, gaiety, and hilarity at a dance hall on a Saturday night.
Frum
Askell Masson
Askell Masson (b. 1953) is among Iceland's most prominent composers. His music has been described as powerful, lyrical, ethereal in sound, mystical and with extraordinary insight into the unique attributes of each instrument for which it is written. Amongst Masson's main works are the grand opera The Ice Palace, orchestral works Sinfonia Trilogia, Run, For, Okto November and Hvbrf, six concerti for clarinet, viola, snare drum, piano, marimba and trombone, several chamber works and instrumental solos Blik for Clarinet, Teikn for Violin, Sonata for Organ, Hrim for cello, Prim for Snare Drum, and Cadenza for Trombone. In addition to concert music, he has composed music to numerous plays and films as well as television.
Frum was written towards the end of 1995, and about this piece Askell Masson writes:
Frum means 'embryo,' and the embryo of this composition is two notes, from which the whole work emanates. As the piece unfolds, a variety of techniques are passed through: paradiddles, single strokes, rico?chet-sticking, sweep and cross combinations and four-mallet technique, not forgetting such vital things as attack and tone which, in my opinion, are the player's main means to make the drums sing. Polyrhythms are abundant in the piece and, in the final sec?tion, there are five different polyrhythms sounding simultaneously.
This piece was written for Evelyn Glennie and is dedicated to our mutual mentor, James Blades, percussionist, in admiration and gratitude.
Return of the Moon
Peter Klatzow
Poet Stephen Watson's volume of Versions from the Xam contains crystallizations of a folklore that has now passed into history. It seems important to ask how a people who had harmonized so perfectly with their sur?roundings for thousands of years should suddenly be virtually annihilated by new?comers to their territory. Little enough remains, but the poems provide an insight into their relationship to natural phenome?na such as rain, the moon, stars, animals and fire.
What the poet calls the "temptation towards elegy" is perhaps inevitable and finds muted expression in the last song in the cycle "Song of the Broken String," but the open?ing song, "In a Far Off Place," also conveys nostalgia for a time when the tribe fully identified with the surrounding animal life.
"In a Far Off Place" reveals the strong Xam (bushman) identification with nature. The sorcerers, falling into a trance, believed that they became birds, and the tribe, shar?ing in this experience, followed them in this belief.
The moon is also a powerful force in Xam mythology, and the second poem is a prayer to the new moon that visibly goes through the process of dying and rebirth. This invocation is a longing to share in this experience, and escape death.
In "Blue Mist Like Smoke," the grey veldhare is identified with the blue mist that would be found hovering over the veld in the early mornings. In fact, the hare is the bringer of the mist, clouding the sun in smoke.
The bowstring is a one-string instru?ment capable of a great variety of nuances, and generally played by twanging a metallic or wooden stick against the string while the mouth is used to change the overtones pro?duced. Kaunu, the rainbringer of the tribe,
sits playing his bowstring and conjures up dense cloud, so that the tribe wakes to find itself in a rainstorm that would last to the next sunset.
In the final song, "Song of the Broken String," this same bowstring has been bro?ken, and all the magical qualities lost. With this catastrophe, the tribe loses its identity, the earth is no longer a home, and the earth lies empty and dead.
Peter Klatzow was born in Springs, Transvaal, in 1945 and studied at St. Martin's School in Johannesburg and then spent a year teaching music and Afrikaans at the Waterford School in Swaziland. The award of the South African Music Rights Organization scholarship for composers in 1964 took him to London's Royal College of Music, where he studied composition with Bernard Stevens, piano with Kathleen Long, and orchestra?tion with Gordon Jacob. He also won several of the college composition prizes as well as the Royal Philharmonic prize for composi?tion, which was open to any commonwealth composer under the age of thirty. He spent the following years in Italy and Paris, where he studied with Nadia Boulanger.
Since returning to South Africa in 1966, he has worked at the South African Broadcasting Company in Johannesburg as a music producer, and in 1973 was appointed to the University of Cape Town where he is presently Associate Professor in Composition.
Other major works include a full-length ballet on Hamlet, music for ballets on Drie Diere and Vier Gebede, and concertos for various solo instruments: piano, clarinet, organ, marimba, and a double concerto for flute and marimba. His Prayers and Dances of Praise from Africa was recently introduced at the Three Choirs Festival in Worcester, and last year saw the first performances of two new works; his String Quartet No. 3 (commissioned by the Lake District Summer Music Festival for the Chilingirian Quartet) and Return of the Moon.
Street Songs
Steve Martland
Most of the music that I have composed over the last few years has been specifically written for my band, an eleven-piece instru?mental line-up. Being approached by the King's Singers and Evelyn Glennie was therefore a challenge, and one that I was keen to tackle because I had already been thinking about subject matter for a potential vocalchoral work. However, being asked for a piece by such illustrious performers imposes its own horrors, namely my own lack of self-confidence when it comes to working with people I don't know. That per?sonal inhibition was soon overcome when I got to know everybody involved and real?ized that they were fantastic people apart from being incredible musicians.
I have to thank the King's Singers and Evelyn Glennie for personally commissioning me for this piece. It became a labor of love. But I must also thank the great Hungarian composer Gyorgy Ligeti -according to the King's Singers, it was he who suggested that the guys commission me in the first place. I am honored and proud to be associated with all of these wonderful musicians.
Street songs, as sung in children's playing games are, in fact, ritual mirrors of death and resurrection. Many sources and versions of these games exist, not least in myriad publications (often now out of print) at the English Folk Song and Dance Society, of which I became a member in order to use their library! Although I used the original traditional texts (with occasional modifica?tion), no pre-existing melodies are quoted (apart from a tiny reference to the famous "Oranges and Lemons" tune). The texts are used structurally. By repetition of words and phrases, overlapped between the various voices, the "story" or subject at hand, is both objectified as well as ritualized. The theme of all the songs is death and resurrection.
Oranges and Lemons
This well-known song is based on the name of various places with bells in London. Here the lower voices imitate the bells referred to in the procession in the text -a journey to a public execution, perhaps The text and music is constantly divided rhythmically (hocketted) across the singers, a device used a great deal in African music.
Jenny Jones
This song exists in many versions. The ritual suggests children knocking on the door of a friend asking for her to come out to play -to be reborn. Being dressed in white sug?gests a funeral shroud. Each stanza of the text is set for different combinations of voic?es to create the impression of many children asking for Jenny Jones.
Poor Roger
Despite the rather forbidding subject -death and resurrection -the song "Poor Roger" is almost comedy: Roger is dead and buried, but when an old woman comes to rob his grave, old Roger is reborn and hits her. Here procreation is also inferred (by the composer), playing on the rather coarse modern usage of the word "knocking."
Program note by Steve Martland.
The Castle of the Mad King
Nebjosa Zivkovic
The Castle of the Mad King (1988) had its partial premiere in October in Stockholm
-the cultural capital of Europe that year
-played by Evelyn Glennie. The composi?tion presents a sonic experience for the lis?tener played on a relatively large set-up using some unusual instruments such as Earth Plates and Japanese Uchiwa-Daikos.
The Castle of the Mad King does not require the use of any mallet instrument as the earlier multi-percussion compositions; the only tuned instrument in this relatively long piece is one low octave of crotales. The idea of the piece is balancing between con?trolled musical content and its improvisa?tion, accomplished in the shifts of energetic and aggressive, lyric and meditative parts. This piece -with a somewhat imaginative title -is, in fact, a picture of the author's sound castle, where, behind the walls, the listener (as in every castle) discovers the chamber of rage, the chamber of torture, the chamber of joy, the chamber of longing, the chamber of laughter and chambers almost forbidden to enter.
Program note O by Nebjosa Zivkovic.
Horizons
Peter Louis Van Dijk
In a cave, somewhere in the Western Cape region, is a well-documented San (Bushman) painting of a Dutch (or, perhaps English) ship, resplendent with flags and sails, rounding the Cape. The painting dates back to the early 1700s and serves as a poignant reminder of the incredible powers of obser?vations of these now virtually extinct people.
Sadly, the very people the San saw as "gods" -certainly in terms of stature and relative opulence -were to become their executioners (with the help of other black tribes). Physically small, the San described their larger neighbors as "animals without hooves" and were often mistakenly regarded as "cowardly" due to their non-confronta?tional approach to conflict with friend and foe alike.
The eland (a large antelope) represented more than just food and took on an almost supernatural significance, while the rain was seen, supernaturally, to be either male or
female (either rain-cow or bull) depending on its intensity.
Horizons was commissioned for The King's Singers by the Foundation for the Creative Arts in South Africa, for their 1995 tour of that country, which was the group's first visit there in over ten years. The work, with music and words written by the com?poser, was premiered in Cape Town on September 17,1995.
The Lion King
A Medley of Music from the Tony Award-winning Broadway Production
Elton John & Lebo M., Music Tim Rice & Lebo M., Words Arr. Andrew Pryce Jackman
The music of South African composer Lebo M. was featured in the soundtrack of the film version of Disney's The Lion King, but most people are more familiar with the movie's hit songs by Elton John and Tim Rice. In the stage production, Lebo M.'s music is featured more prominently along?side these popular songs, providing the key musical elements that create the atmosphere and move the story forward. This exciting and eclectic combination of musical styles gives this show an added dimension that is only hinted at in the film.
For this performance, I have tried to preserve the drama by arranging the songs as a mini-opera. While this may seem like an improbable proposition for six voices and a percussionist, The King's Singers and Evelyn Glennie are up to the task, and they will take you there.
A few bars from an older jungle song, "The Lion Sleeps Tonight" (Wimoweh) sets the mood. Good King Mufasa rules the lions and all the beasts of the Pride Lands, "Busa le Ilswe bo" (Rule This Land). His young cub, Simba, sings "I Just Can't Wait to be
King" with such presumption that the King's eyes and ears, Zazu (who is a hornbill, of course!), is more than upset. Enter Scar, the King's wicked brother, who reveals in his song "Be Prepared" his dastardly plot to kill both Mufasa and Simba and rule the Pride Lands himself, with the aid of the detestable hyenas who will be his storm troopers.
The stampede of the wildebeests, which features The King's Singers on percussion and Evelyn playing the bantoka, is the fulfill?ment of Scar's plot. His treachery ensures the death of his brother, but Simba escapes and runs away to a distant land, convinced by his uncle that he caused Mufasa's death.
Time passes and Simba has grown into a young adult. His grief and true feelings are revealed in "Where has the starlight gone" from Endless Night. A more purposeful note begins to assert itself, "I know that the night must end." "Ndabe Zitha" (King of Kings) looks forward to the success of Simba's
finally realized mission to return to the Pride Lands to confront his evil uncle Scar and claim his rightful place as the new Lion King. "Busa le llswe bo" returns in a celebra?tory mood, followed by "The Circle of Life."
Also included is the Grammy award-winning song "Can You Feel the Love Tonight," as well as "He Lives In You," where Simba at last feels the spirit of his father (and which was used as the theme for Disney's video sequel, Lion King II: Simba's Pride).
Prior to being commissioned to arrange this version of The Lion King, Andrew Pryce Jackman arranged the London Symphony Orchestra's contribution to the Elton John and LeAnn Rimes duet single "Written in the Stars." The lyrics for that song were written by Tim Rice.
Program note by Andrew Pryce Jackman.
Evelyn Glennie is a force of nature, a gift of music to the world. This young Scotswoman has carved a new place for solo percussion in the realm of clas?sical music, and has melded traditions and instrumentation from around the world to create new ways of performing and, indeed, of hearing percussion as music in its own right. Because she has defied convention by crossing the traditionally rigid boundaries of formal, folkloric, and popular musical forms, this uncommonly versatile musician has managed to draw new audiences to the classical world. In so doing, she has collect?ed forty-four awards including a "Grammy," and has won the acclaim of the world's most venerable musicians and critics, who must stretch their vocabularies to describe this "thrilling, hyperkinetic wild woman" and the "glorious ruckus she creates."
The breadth and originality of Glennie's talent make any attempt to define her incomplete. She appears regularly with the top orchestras and conductors of the world, and if she could perform as a soloist, Glennie would be as comfortable and accomplished playing in a rock band, a folk group, a Gamelan Orchestra (an orchestra made up of mainly tuned percussion instru?ments), a jazz band, an African, Middle Eastern, Latin or Asian ensemble. Her virtu?osity and restless musical imagination have spawned a career that has brought her to five continents, and encompasses more than 110 concerts per season; 12 solo recordings; collaborations with musicians ranging from Brazilian percussionist Nana Vasconcelos to the Icelandic pop star Bjork, and the Japanese drummers, Kodo; a host of award-winning film and television scores; and a powerful, best-selling autobiography. Glennie has already secured a place in music history. She is the first ever, and still the only full-time solo percussionist in the field of classical music, and is unanimously
credited with transforming the role of per?cussive instruments within this highly con?servative world. She is also responsible for bringing life to the severely limited classical repertoire by commissioning more than eighty new works from some of the world's top contemporary composers.
Explaining her impact, The New York Times has called Glennie "the percussion world's Segovia or Rampal," and stated that "her musicianship is extraordinary. One has to pause in sheer wonder at what she has accomplished. She is quite simply a phe?nomenon of a performer." And in the words of Leonard Slatkin, Music Director of the National Symphony Orchestra, "she has done for percussion what James Galway did for the flute and Richard Stolzman for the clarinet. She has gotten young people turned on to music in a setting other than jazz or rock. I also suspect that by her ability and personality she will have inspired lots of people to go into the profession."
Despite all of Glennie's awards, and her designation as an Officer of the British Empire -it is extremely rare for anyone under the age of about fifty to get this title, and Glennie was twenty-seven when she
received it -the most important praise she receives comes from her public: she was voted "Scots Woman of the Decade" and the "International Classical Music Personality of the Year" (the classical music world's equivalent of the Academy Awards). In the context of such a vibrant and illustrious
career, the fact that Glennie has been pro?foundly deaf since the age of twelve seems, at first, amazing. But for her, it is virtually irrelevant. Hearing is basically a specialized form of touch and sound is simply vibrating air which the ear picks up and converts to electrical signals which are then interpreted in the brain. Glennie can identify the notes according to the vibrations she feels through her feet and lower body.
Evelyn Glennie records exclusively for BMG Records. Her latest CD, Shadow Behind the Iron Sun, is scheduled for release in March 2000 on the RCA Red Seal label. Upcoming concerts include dates in the US in October; the United Kingdom in November; and a thirteen-city tour of Germany as well as concerts in Estonia, and Poland in the fall.
Tonight's performance marks Evelyn Glennie's debut under UMS auspices.
The six Englishmen known as The King's Singers enjoy the distinction of being one of the world's most sought-after and acclaimed vocal ensembles. The group's universal popularity stems from their unique ability to communicate the sheer enjoyment of singing a vast and eclec?tic repertoire, whether it is a sixteenth-cen?tury madrigal, a world premiere of a com?missioned work, a sacred choral master?piece, a Japanese folksong, or one of their trademark arrangements of a popular hit. After three decades, The King's Singers' full schedule of performances, recordings and television appearances around the world continues to reflect their stylistic versatility and remarkable musicianship.
The King's Singers return to the US in October 1999 for a special collaborative tour with Scottish percussionist Evelyn Glennie, known as the Street Songs tour -which is the title of their current RCA Red Seal recording, featuring music from South Africa and children's play songs from the streets of England. This joint program will be presented in major venues across the country, including Orchestra Hall (Chicago), Hill Auditorium (Ann Arbor), and the New Jersey Performing Arts Center in Newark. The ensemble will also give solo recitals during the 1999-2000 season in such cities as Washington, DC, San Francisco, Seattle, Denver, Houston, Louisville and Jacksonville. In addition, in April 2000 they will be joined by the Plymouth Music
Singers of Minnesota and con?ductor Philip Brunelle in a spe?cial performance of Libby Larsen's Billy the Kid -which was commissioned by The King's Singers -in honor of the composer's fiftieth birthday year.
Since their debut in May 1968, the ensemble, which was formed at King's College in Cambridge, has performed the most diverse repertoire of any vocal group in the world. Committed to presenting new music, they have commissioned over 200 new works from a host of prominent contemporary composers, including Richard Rodney Bennett, Luciano Berio, Peter Maxwell Davies, Libby Larsen, Gyorgy Ligeti, Gian-Carlo Menotti, Krysztof Penderecki, Ned Rorem, John Rutter, Gunther Schuller, Toru Takemitsu and John Tavener. Most recently, the group com?missioned two pieces with
marimba for the Evelyn Glennie project: Steve Martland's Street Songs, and Peter Klatzow's Return of the Moon.
While they are masters at performing new music, The King's Singers are equally at home singing Renaissance madrigals, tran?scriptions of orchestral classics, folk music in various languages, and popular songs. This wide-ranging repertoire is reflected in the ensemble's more than sixty recordings, including ten albums for BMG Classics on the RCA Victor and Red Seal labels. In October 1999, RCA Red Seal releases Circle of Life, an orchestral recording featuring popular songs from hit films, including the title track (from The Lion King), with the Metropole Orchestra of Holland, conducted by Carl Davis. Also current in the BMG cat?alogue are Nightsong (RCA Red Seal), a col?lection of German Romantic music by Brahms, Schubert and Schumann, featuring several guest artists, including contralto Nathalie Stutzmann, tenor Neill Archer and pianist Roger Vignoles; and Spirit Voices (RCA Victor), an assortment of pop music with special guests Bruce Johnston and Mike Love of the Beach Boys, Midge Ure of the English band Ultra Vox, and jazz trum?peter Tom Harrell.
Additional projects include a recording of all six Nonsense Madrigals by Gyorgy Ligeti, released by Sony Classical as part of a thirteen-disc Ligeti retrospective in honor of the composer's seventy-fifth birthday. Also new to the ensemble's catalogue is an educational video produced by Hal Leonard Publishing called The King's Singers: A Workshop, which shows highlights of fall 1996 master classes and concerts held in Dallas' Meyerson Symphony Hall.
The King's Singers are familiar to American television audiences through their numerous television programs, including a tribute to Paul McCartney with the Boston Pops; their own six-part series entitled The King's Singers' Madrigal History Tour, which
was broadcast on A&E; The Art of The King's Singers, a documentary released on home video that follows the everyday life of the sextet on the road, in rehearsal and perfor?mance, and in a masterclass setting; an Emmy award-winning ABC Christmas spe?cial with Julie Andrews, Placido Domingo and John Denver; and numerous appear?ances on the Tonight show and Today show. The ensemble has been heard frequently on the American Public Radio and National Public Radio networks, including NPR's Performance Today, and Minnesota Public Radio's Prairie Home Companion with Garrison Keeler and St. Paul Sunday.
During the last decade, The King's Singers have performed throughout North America's most prestigious venues. They have also appeared at major American music festivals including Tanglewood, Ravinia, the Hollywood Bowl, Wolf Trap, Interlochen, and the Minnesota Orchestra's Sommerfest. In addition to The King's Singers' hundreds of a cappella recitals, they have performed with the symphony orches?tras of Atlanta, Detroit, Milwaukee, Minnesota, Pittsburgh, St. Louis and Toronto, as well as with the National Symphony, and the Boston Pops, New York Pops and Cincinnati Pops orchestras.
Tonight's performance marks The King's Singers' sixth appearance under UMS auspices.
UMS
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Richard Beene, bassoon Mahoko Eguchi, viola Anthony Elliott, cello Katri Ervamaa, cello Soren Hermansson, horn Andrew Jennings, violin Paul Kantor, violin Martin Katz, piano
Joshua Kowalsky, cello
Cathy Lynn, viola
Sean McLaughlin, bass clarinet
Fred Ormand, clarinet
Amy Porter, flute
Melody Racine, mezzo-soprano
Stuart Sankey, bass
Harry Sargous, oboe
Program
Alban Berg
Anton Webern
Arnold Schonberg
Sunday Afternoon, October 24, 1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Schoenberg and His Kind
Four Pieces for Clarinet and Piano, Op. 5
Mabig
Sehr langsam Sehr rasch Langsam
Ormand, Katz
Abendland I Abendland II Abendland III
from Six Songs for Voice, Clarinet, Bass Clarinet, Violin and Cello, Op. 14
Racine, Jennings, Ervamaa, Ormand, Fortier
Verklarte Nacht (Transfigured Night), Op. 4
Kantor, Jennings, Eguchi, Lynn, Elliott, Kowalsky
INTERMISSION
Joseph Rheinberger
Nonet, Op. 139
Allegro
Menuetto: Andantino Adagio molto Finale: Allegro
Jennings, Lynn, Elliott, Sankey, Porter, Ormand, Sargous, Beene, Hermansson
Please refer to page 9 for an introductory note on Arnold Schoenberg by Peter Laki.
Thirteenth 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.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Four Pieces for Clarinet and Piano, Op. 5
Alban Berg
Born February 9, 1885 in Vienna
Died December 24, 1935 in Vienna
What made the Second Viennese School a "school" was not the fact that Alban Berg and Anton Webern had studied with Arnold Schoenberg. The decisive factor was that long after the formal teacher-student rela?tionships had ended in 1908, the three com?posers remained close, showing one another their new works (Schoenberg, on occasion still criticizing the music of his friends), constantly exchanging ideas, and in general, moving along parallel artistic paths. Both atonality and serialism -the school's prin?cipal innovations -had yet to be developed at the time when the two younger com?posers took lessons from Schoenberg; it is significant that Berg and Webern chose to follow Schoenberg's lead even when they were no longer students.
Miniature form, as seen in Webern's Six Bagatelles for String Quartet, Op. 9, Schoenberg's Six Little Piano Pieces, Op. 19, or Berg's Four Pieces for Clarinet and Piano, Op. 5, was something all three composers were in some way preoccupied with in the years after 1910. The goal of establishing new structural relationships among the tones (eventually resulting in the twelve-tone system) demanded, during this critical phase of the three composers' evolution, the writing of works that were extremely brief. From this perspective, the symmetrical eight-bar phrases of classical music seemed redundant; continuations already implied in a beginning did not need to be spelled out. In a miniature work, each and every note was crucial, and each had a structural signif?icance all its own. Entire sonata movements could sometimes be compressed into the space of a few measures.
Berg made his only contribution to atonal miniaturism with his clarinet pieces of 1913. (They were not performed until 1919, at a concert of Schoenberg's newly-founded Society for Private Musical Performances in Vienna.) The composition is atonal (i.e. it is not based on major or minor triads). Schoenberg had spoken of the "emancipation of dissonance" (i.e. a har?monic language in which dissonances were no longer subject to classical rules of resolu?tion); accordingly, dissonant chords, made up of perfect and augmented fourths, can occupy a central, recurrent position former?ly reserved to triads.
The four movements -an opening in moderate tempo, a slow piece, a quasi-scherzo (with a slower mini-trio) and a complex, mysterious slow finale -vaguely recall the outlines of a four-movement sonata-cycle. Yet the emphasis is not on motivic development (i.e. on getting from "here" to "there") but rather on savoring each individual sound or motif as a self-contained event. At the same time, melody is never jettisoned: the piece abounds in singing lines for the clarinet, and, since all sonorities are made equal, Berg doesn't hesi?tate to use the traditional, very consonant major third prominently at several points in the piece.
Abendland I
Abendland II
Abendland III
from Six Songs for Voice, Clarinet,
Bass Clarinet, Violin and Cello,
Op. 14
Anton Webern
Born December 3, 1883 in Vienna
Died September 15, 1945 in Mittersill, Austria
The song played a crucial role in the careers of all three composers of the Second Viennese School. Schoenberg, Berg and Webern each started by writing Lieder in the style of Austro-German post-Romanticism; in addition, each time they made a transi?tion into a new style period, they explored the new territory by setting poetry to music. This was true around the time after 1908, with the advent of atonality (Schoenberg: The Book of the Hanging Gardens, Op. 15; Berg: Four Songs, Op. 2; Webern, Songs Op. 3-4). Likewise, the passage to serialism is marked by vocal settings such as the fourth movement in Schoenberg's Serenade, Op. 24; Berg's second setting of Schliesse mir die Augen beide, and Webern's song cycles Op. 23 and 25. However, Webern was the only one of the three composers to write songs continuously throughout his career; there were even some years, towards the end of World War I and the years immediately fol?lowing, when he devoted his energies exclu?sively to Lieder -some with piano and some with instrumental ensembles of differ?ent sizes.
Through the poems set in the cycles Op. 12-18, Webern was able to move beyond the extreme brevity of his instrumental miniatures from the preceding years (Op. 9-11). The technical challenge to the singer is
enormous; the wide leaps in the vocal line and the ease and lightness with which the most difficult passages have to be sung, make the performance of these songs a daunting task. Yet those very qualities are what makes this music what it is: an artistic statement of uncommon sensitivity that pushes the limits of the humanly possible in order to express similarly delicate poetry, most of it coming from the mysterious bor?derline regions between real and surreal.
Georg Iraki (1887-1914), the author of the texts for the Six Songs, Op. 14, was an Austrian poet who died at the age of twen?ty-seven during World War I. A member of
the expressionist movement, he cultivated a nos?talgic and pes?simistic tone that greatly appealed to Webern, the first of many composers to set his poems to music. The three Abendland songs are Nos. 2-4 in
Webern's set of six; the first and third date from 1919, the second one from 1917. Images of shadows, dying lovers, falling stars and crystalline tears fill Iraki's lines; the "atonal" style of the music, lacking a clearly defined tonal center, captures a similar feel?ing in the poems where no safe haven awaits the wanderer in the night. In each song, the singer is accompanied by three instruments (bass clarinet, violin, cello; clarinet, violin, cello; clarinet, bass clarinet, cello); their parts, with dynamics rarely rising above piano, share the anguish expressed in the vocal line. Special playing techniques in the strings (harmonics, pizzicatos, bowing near the bridge) greatly enhance the eerie atmos?phere.
Six Songs for Voice, Clarinet, Bass Clarinet, Violin and Cello, Op. 14
Georg Trakl
Abendland I
Mond, als trate ein Totes
aus blauer Hohle,
und es fallen der Bluten viele
iiber den Felsenpfad.
Silbern weint ein Krankes
am Abendweiher;
auf schwarzem Kahn hinuberstarben
Liebende.
Oder es lauten die Schritte Elis'
durch den Hain,
den hyazinthenen,
wieder verhallend unter Eichen.
O des Knaben Gestalt
geformt aus kristallenen Tranen,
nachtigen Schatten.
Zackige Blitze erhellen die Schlafe
die immerkiihle,
wenn am griinenden Hiigel
Friihlingsgewitter ertont.
Occident I
Moon, as if something dead stepped out
of a blue grotto,
and a multitude of blossoms falls
across the rocky path.
Something ill weeps silvery tears
beside the evening pool;
ferried deathward in a black boat are
lovers.
Or Elis' footfalls ring
in the grove,
the hyacinthine,
to die away again beneath the oaks.
O the figure of the boy,
formed of crystalline tears,
nocturnal shadows.
Zigzag lightning illuminates the temples,
the always cool ones,
when on the burgeoning hills
spring storms resound.
Abendland II
So leise sind die griinen Walder unsrer Heimat,
die kristallne Woge
hinsterbend an verfallner Mauer
und wir haben im Schlaf geweint;
wandern mit zogernden Schritten
an der dornigen Hecke hin
Singende im Abendsommer,
in heiliger Ruh des fern verstrahlenden Weinbergs;
Schatten nun im kuhlen SchoS der Nacht,
trauernde Adler.
So leise schlieGt ein mondner Strahl
die purpurnen Male der Schwermut.
Occident II
So quiet are the green forests of our homeland;
the crystalline wave
spending itself at the crumbling wall.
And in sleep we cried;
with hesitant steps we wonder
along the thorny hedge,
singers in the evening summer,
in the blessed peace of the distantly radiant vineyard.
shadows now in the cool womb of night,
mourning eagles.
So gently does a moonbeam close
the purple wound of melancholy.
Abendland III
Ihr grofien Stadte
steinern aufgebaut in der Ebene!
So sprachlos folgt der Heimatlose
mit dunkler Stirne dem Wind,
kahlen Baumen am Hugel.
Ihr weithin dammernden Strome!
Gewaltig angstet schaurige Abendrbte
im Sturmgewolk.
Ihr sterbenden Volker!
Bleiche Woge zerschellend am Strande der Nacht,
fallende Sterne.
Occident III
Ye huge cities,
built of stone in the plain!
Equally mute, the homeless wanderer follows
with dark brow the wind,
the bare trees on the hill.
Ye far-off vanishing streams!
Overwhelmingly affright the grisly evening glow
in the thunderhead.
Ye dying people!
Pallid wave breaking on the shore of night.
Falling stars.
Verklarte Nacht (Transfigured Night), Op. 4
Arnold Schonberg
Born September 13, 1874 in Vienna
Died July 13, 1951 in Los Angeles
Of all the arts, musical composition is prob?ably the most difficult to learn, in terms of sheer technical proficiency. The problems of musical form, harmony, instrumentation, and notation are so complex that it usually takes many years of rigorous study with an experienced master before a young musician can produce a work that is at least profes?sionally competent. (This is, incidentally, the reason why there are so many more amateur writers and painters than there are amateur composers.)
Arnold Schoenberg was alone among the great European composers in being almost entirely self-taught. He did not have the benefit of a musical family or a good teacher early in life. He taught himself to play the violin, later the cello, and played an enormous amount of chamber music with his friends, most notably Oskar Adler, a physician who was also a professional-level violinist. Additional advice came from another friend named David Josef Bach, and most importantly, from the composer Alexander van Zemlinsky, who later became Schoenberg's brother-in-law. But none of this guidance amounted to a full-scale course of study in composition: Schoenberg was really his own teacher. (Maybe that is why he could become such a great and dedi?cated teacher himself.) He diligently worked his way through the entire classical tradition and absorbed it so completely that by 1897 (at the age of twenty-three) he was able to write a string quartet in D Major that not only demonstrated a flawless tech?nique but showed unmistakable signs of originality and even genius.
Two years later, Schoenberg wrote Verklarte Nacht, the work that made him
first infamous and, soon afterwards, famous. Growing up in Vienna, the young Schoenberg was naturally a follower of Brahms, who dominated musical life in the city. Through Zemlinsky he discovered the music of Wagner, Brahms' antithesis in the eyes of the contemporaries. With Verklarte Nacht, then, Schoenberg managed to infuri?ate both the Brahms and the Wagner camps -transferring as he did the idea of pro?gram music, associated with Wagner and the "New German School," to the chamber medium, which was Brahms' bailiwick and traditionally devoted to "absolute" music only.1 To add insult to injury, Schoenberg used a particular dissonance that could not be found in the existing harmony textbooks, and this gave the Vienna Composers' Association the excuse they needed to turn the piece down.
The title Verklarte Nacht comes from a poem by Richard Dehmel (1863-1920), a German poet very highly regarded at the time. Dehmel's success rested on his indi?vidual combination of naturalism and polit?ical consciousness with an expressionistic, visionary passion. The poem in question, printed in Dehmel's 1896 collection Weib und Wfef (Woman and World) is a good example: its central event (a woman's admission to her lover that she is bearing another man's child) is a declaration of war on conventional bourgeois morality. (It has to be stressed, though, that she conceived the child before meeting the love of her life.) This shockingly frank confession, which represents the naturalistic layer of the poem, is, however, immediately "transfigured," partly by the man's words of comfort and partly by the background of the magical, moon-lit landscape which elevates the somewhat lurid story to a completely differ?ent, almost cosmic plane.
Schoenberg followed the outline of Dehmel's poem in his string sextet. There
The only earlier major chamber work with a program was Smetana's string quartet "From My Life."
Transfigured Night
Richard Dehmel
Two people are walking through a bare, cold wood; the moon keeps pace with them and draws
their gaze.
The moon moves along above tall oak trees, there is no wisp of cloud to obscure the radiance to which the black, jagged tips reach up. A woman's voice speaks:
"I am carrying a child, and not by you,
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling. She looks up; the moon keeps pace. Her dark gaze drowns in light. A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you will bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips. Their breath embraces in the air. Two people walk on through the high, bright night.
are five sections: introduction -the woman speaks -interlude -the man speaks -postlude.
The introduction, interlude and postlude share the same thematic material: a descending scale motif with a dotted rhythm, suggestive of the two people walk?ing in the night. At the beginning, this theme is soft and almost neutral. In the middle, it becomes loud and impassioned, with each note heavily emphasized. At the end, it is soft again, but surrounded by sen?suous chromatic countersubjects and special devices such as arpeggios (broken chords), tremolos ("trembling" note repeats), and pizzicatos (plucked strings).
The woman's speech, with d minor as its central tonality, is filled with dramatic passion. Its tension-laden main theme rises from a subdued pianissimo to a desperate outburst. The influence of Wagner and Strauss are evident, though Schoenberg goes considerably beyond both in his bold han?dling of dissonances.
In a total contrast, the man's speech begins in a calm and peaceful D Major with an entirely classical cadence. While the con?tinuation is more adventorous, the lyrical element always prevails. The tenderness of the music is underscored by special playing techniques (harmonics, and sul ponticello, or playing near the bridge). The tempo, slow at first, gradually speeds up, but returns to its initial state at the end of the section.
Although rejected at first, Verkla'rte Nacht received a large number of perfor?mances in the following years and became accepted as one of the greatest chamber-music works of the decade. (It has remained Schoenberg's most frequently performed piece ever since.) Richard Dehmel attended a performance late in 1912, and subsequent?ly wrote to the composer:
Dear Mr. Schonberg!
Yesterday I heard Verkliirte Nacht, and I should consider it a sin of omission if I failed to say a word of thanks to you for
your wonderful sextet. I had intended to follow the motives of my text in your com?position, but I soon forgot to do so, I was so enthralled by the music. Besides, Bandler performed it quite perfectly with his partners; I think that you, too, would have enjoyed it thoroughly, even though this work is now ten years behind you. With cordial greetings, your Dehmel
And Dehmel added four lines of poetry in which he expressed his gratitude (and did not hesitate to compare himself to God in the process):
A word of thanks -o beauteous tones!,
The echo of the creator's word.
We all can sense no loftier joy:
The world now answers God in sound.
If Dehmel lost the thread of his own poetry while listening to the music, it is maybe advisable that we, too, hear it as an indepen?dent work of art, without referring to the program. This piece is certainly a com?pelling musical composition with its own life and inner logic and is perfectly self-suf?ficient without any literary connections. On the other hand, the piece would not have been written in the first place, had it not been for those connections. With unfailing instinct, Schoenberg concentrated on the transcendent aspects of the poem (two peo?ple, faced with a critical situation, rise above banality and confirm their eternal love), extracting from it those timeless emotions that alone could be rendered musically. Dehmel's poem, taken in itself, verges on the banal; it is only through the music that we realize how close the story is to Tristan, where another man (King Mark) casts a transient shadow on the love of the two protagonists. Ultimately, the details of the story and even the protagonists totally "dis?solve" in Schoenberg's music. Only timeless feelings remain, leaving us all "transfigured" by the end of the work.
Nonet, Op. 139
Joseph Rheinberger
Born March 17, 1839 in Vaduz, Liechtenstein Died November 25, 1901 in Munich
Joseph Rheinberger -a contemporary of Brahms -is remembered chiefly as the composer of some of the finest German organ music after J.S. Bach. Yet he also wrote prolifically for every musical medium available. A prodigiously gifted musician who for many years was a distinguished professor at the Munich Conservatory, Rheinberger was famous for his virtuosity on the organ, his exceptional improvising skills and the acuity of his ear. He was no revolutionary: he devoted his entire life to the upholding of the musical tradition he had inherited, carefully distancing himself from any tendencies that may have chal?lenged that tradition.
His Nonet, written late in the nine?teenth century, revisits the sound world of Beethoven's Septet (1799) and Schubert's Octet (1824). To the instrumentation of the former, he added a flute and an oboe, to have a complete wind quintet (with clarinet, bassoon, and horn) against a quartet of strings (violin, viola, cello and bass). Unlike his predecessors, who associated this larger chamber ensemble with eighteenth-century divertimento form (in six movements), Rheinberger adhered to the classical four-movement cycle. He chose to include a somewhat archaic minuet (rather than a scherzo) in second place. The scoring may be reminiscent of lighthearted divertimentos and serenades, but the themes and their developments are utterly serious, with the possible exception of the dance-like rondo melody in the last movement. This lively theme was influenced by Gypsy music, prob?ably through the intermediary of Brahms.
Program notes by Peter Laki.
Richard Beene (bassoon) is active as an orchestral player, soloist, chamber musician, and educator. He performs as principal bas?soonist with the Toledo Symphony Orchestra, where he has also appeared numerous times as a soloist. He toured Europe in 1991 as solo bassoonist with the American Sinfonietta and toured Japan the following year as a featured soloist with the Colorado Music Festival. In 1994 he performed as a soloist at the Festival de Musique de St. Barthelemy in the French West Indies. He has been a featured recitalist at the annual convention of the International Double Reed Society. He holds degrees from the University of Wisconsin and Baylor University and has previously served on the faculties of Michigan State University and Wichita State University.
This afternoon's performance marks Richard Beene's seventh appearance under UMS aus?pices.
Please refer to page 30 for Mahoko Eguchi's biography.
This afternoon's performance marks Mahoko Eguchi's second appearance under UMS aus?pices.
Anthony Elliott {cello), a protege of Janos Starker and of Frank Miller, won the Feuermann International Cello Solo Competition, which was followed by a high?ly successful New York recital. Mr. Elliott has given master classes at most leading American conservatories. He is a frequent soloist with major orchestras, including those of Detroit, Minnesota, Vancouver, CBC Toronto, and the New York Philharmonic. His CD of Kabalevsky, Martinu, and Shostakovich sonatas received a rave review from Strad Magazine of London and was named a "Best Buy of 1991" by the Houston Post. Forth?coming releases include works by French and Russian composers. In demand as a chamber musician, Mr. Elliott has been a guest artist
at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas chamber music festivals, New York's Blossom Music Festival, Houston's Da Camera Series and the Victoria International Festival. He devotes his summers to teaching and performing at the Aspen Music Festival and School. Mr. Elliott, who holds the per?former's certificate and a Bachelor of Music degree with honors from Indiana University, joined the faculty in 1994.
This afternoon's performance marks Anthony Elliott's eighth appearance under UMS aus?pices.
Cellist Katri Ervamaa is a doctoral student in performance at the U-M School of Music. She has performed widely in the US, Europe and her native Finland. As a member of the Owla String Quartet, Katri has appeared in Bowdoin, Soundfest, Orlando, Haut Limousine, Norrtalje and Kuhmo Festivals and in recitals in Finland, the Netherlands, Germany, England, Sweden, the US and most recently in Taiwan and France. She is also a member of the U-M Graduate String Quartet and the Brave New Works Ensemble Collective. Katri holds B.M. and M.M. degrees from Northern Illinois University. Her teachers include Erling Blondal Bengtsson, Marc Johnson, Kazimierz Michalik and Lauri Laitinen as well as the Vermeer, Borodin and Colorado String Quartets.
This afternoon's performance marks Katri Ervamaa's debut under UMS auspices.
Soren Hermansson {horn) is internationally known as performer and recording artist. He has been highly active as an ensemble performer, first as member of symphony orchestras in Norrkoping and in Gothenburg (Sweden), and more recently in chamber music in France, Germany, the Netherlands, and Switzerland. He has performed as soloist with many orchestras in Sweden and Finland, and also in Berlin, Denmark, England, and
in San Juan (Puerto Rico). He has commis?sioned andor premiered considerable new repertory for horn, much of which is included on significant recordings that he has made to wide critical acclaim. Before joining the Michigan faculty in 1999, Mr. Hermansson was a faculty member at the Ingesund College of Music and at the Gothenburg University in Sweden. Mr. Hermansson has given masterclasses at the University of Iowa School of Music and in international summer courses in Sweden, Finland, Switzerland, France, Estonia, and Brazil.
This afternoons performance marks Soren Hermansson's debut under UMS auspices.
Andrew Jennings {violin) graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, and Raphael Druian. He was a founding member of the Concord String Quartet, a new ensemble that quickly gained interna?tional recognition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts through?out the US, Canada and Europe. Specializing in the performance of new works (with an emphasis on American composers), the Quartet gave more than fifty premieres and commissions; it also performed the standard repertory and thirty-two cycles of the com?plete Beethoven quartets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings' teaching career began at Dartmouth College where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculties of the University of Akron and of Oberlin College. He currently devotes his summers to cham?ber music instruction at the Tanglewood Music Center in Massachusetts.
This afternoon's performance marks Andrew Jennings' ninth appearance under UMS aus?pices.
Please refer to page 32 for Paul Kantor's biography.
This afternoon's performance marks Paul Kantor's tenth appearance under UMS aus?pices.
Martin Katz, dubbed "dean of accompanists" by The Los Angeles Times, was the 1998 recipient of Musical America's "Accompanist of the Year" award. He regularly collaborates in recitals and on recordings with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli and Jose Carreras. Highlights of Mr. Katz's more than thirty years of con-certizing with the world's most celebrated vocal soloists include innumerable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala, the Paris Opera and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, Phillips and Decca labels. The Metropolitan, Houston and Ottawa operas have performed his edi?tions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At Michigan, in addition to instruction in ensemble for pianists, Mr. Katz coaches singers, teaches vocal repertory, and is a frequent conductor of the School's opera productions. Currently he holds the title Artur Schnabel Professor of Music.
This afternoon's performance marks Martin Katz's twenty-second appearance under UMS auspices.
Joshua Kowalsky, twenty-one, is currently pursuing a masters degree in cello perfor?mance with Anthony Elliott at the U-M School of Music. He is a graduate of the Cleveland Institute of Music, studying with Richard Aaron. For the past two summers,
Mr. Kowalsky was invited to lead the inter?nationally recognized AIMS Festival Orchestra in Graz, Austria. He has also been a participant at many other summer pro?grams including Encore, Kneisel Hall, Music Academy of the West, Eastern Music Festival, and Interlochen Arts Camp.
This afternoon's performance marks Joshua Kowalsky's debut under UMS auspices.
Currently a doctoral student in viola perfor?mance at the U-M School of Music, Catherine Lynn is active as a soloist, orches?tral player, and chamber musician. She was a finalist in the 1999 William Primrose Competition as well as the 1998 ASTA Competition. Last summer she was a princi?pal violist of the Tanglewood Music Festival Orchestra, and she is currently principal violist of the Flint Symphony Orchestra. Ms. Lynn is a member of the U-M Graduate String Quartet.
This afternoon's performance marks Catherine Lynn's debut under UMS auspices.
Sean McLaughlin (bass clarinet) is a senior music major at the U-M School of Music. He has performed in the Blossom and Music Academy of the West festivals. He recently performed the Mozart and Nielsen concertos with the Music Academy of the West Festival Orchestra. In addition to his musical studies, he is pursuing an interest in mathematics. This past year he was awarded the Morgan Prize, the nation's highest honor given in undergraduate research, for a proof of the dodecahedral conjecture. He has given lectures at Princeton and Eotvos Lorand, Budapest. He is a student of Fred Ormand.
This afternoon's performance marks Sean McLaughlin's debut under UMS auspices.
Fred Ormand (clarinet) has played with the Chicago, Cleveland, and Detroit symphony orchestras and has performed as a soloist with orchestras in the US, China, and Europe. He founded and has toured exten?sively with the Interlochen Arts Quintet and the Dusha Quartet. In 1995 he gave master classes in England, Denmark, and Sweden. Since 1988 he has been a member of the summer faculty at the Music Academy of the West. From 1990 to 1992 Mr. Ormand served as president of the International Clarinet Association and is often invited to perform at the organization's international conferences. In recent years he has pub?lished editions of the music for winds of Amilcare Ponchielli. In 1996 he released a CD on Danacord Records titled Convegno, a premiere recording of Ponchielli's solo works for winds.
This afternoon's performance marks Fred Ormand's eleventh appearance under UMS auspices.
Amy Porter (flute) has served as associate principal flute in the Atlanta Symphony Orchestra from 1991 until her Michigan appointment in 1999. She has also been a member of the Atlanta Chamber Players and the New Jersey State Opera Orchestra. Since winning First Prize in the National Flute Association Young Artists Competition in 1990, she has three times been a featured performer in the Association's annual meet?ings. She has given recitals at Weill Hall of Carnegie Hall, where she made her New York debut in 1987, at the Victoria (Texas) Bach Festival, at the State University of West Georgia, and at Georgia State. She has been a concerto soloist with the Atlanta Symphony Orchestra, Houston Symphony Orchestra, and with the New York Symphonic Ensemble in tours of Japan and Southeast Asia and at the Kennedy Center and at Yale University. Broadcast performances have
included recitals on radio in Atlanta and Philadelphia; Ms. Porter was highlighted on one of PBS's Live from Lincoln Center telecasts celebrating "Juilliard at 80" from which Ms. Porter holds two degrees. She has taught in summers at the Brevard (North Carolina) Music Center since 1996. She is a featured performer on two CDs by the Atlanta Chamber Players and on a flute and percus?sion release entitled Bach on Wood.
This afternoon's performance marks Amy Porter's debut under UMS auspices.
Melody Racine (mezzo-soprano) has per?formed operatic roles in The Magic Flute, Cost fan tutte, Don Giovanni, Otello, Albert Herring, Madama Butterfly and Four Saints in Three Acts. Her oratorio repertoire includes Rutter's Requiem, Mozart's Coronation Mass and Requiem, Handel's Solomon and Messiah, Poulenc's Gloria and Haydn's The Creation. Her awards include a Tanglewood Music Center Voice Fellowship, an Aspen Opera Theatre Fellowship and an Aspen Vocal Chamber Music Fellowship. Her coaches include Phyllis Curtin, Leon Fleischer, Jan DeGaetani, Martin Katz and Gustav Meier. She received an A.Mus.D., a Masters of Music in vocal performance and a B.A. in music from the University of Michigan.
77ns afternoon's performance marks Melody Racine's debut under UMS auspices.
Stuart Sankey (double bass) has enjoyed suc?cess as a performer and also as a composer, writer and editor. He has published four original compositions and is the editor and arranger of fifty editions, including several original works, for the double bass. Prior to coming to Michigan in 1986, he taught at Indiana University, the University of Texas at Austin, and at The Juilliard School. He has given masterclasses and lectures and has
adjudicated nationally and in the Far East. Mr. Sankey was the recipient of the first award given by the International Society of Bassists to an outstanding teacher. He has taught and performed at the Aspen Music Festival for forty-seven years. His former students hold significant academic appoint?ments and are members of celebrated orchestras including those of Boston, Cleveland, New York, San Francisco, and the Metropolitan Opera.
This afternoon's performance marks Stuart Sankey's second appearance under UMS aus?pices.
Harry Sargous {oboe) has been a guest artist with many orchestras in the US, Canada, and Europe; a featured soloist on CBC Radio and Television, BBC London, WDR Koln, and Swedish Riksradio; and a recitalist in North America, Europe, and Japan. For several summers he performed as principal oboe at the Marlboro Music Festival in the orchestra conducted by Pablo Casals. Mr. Sargous holds a B.A., magna cum laude (Scholar of the House with highest honors) from Yale. His principal teachers were Robert Bloom, John Mack, Marc Lifschey, Philip Kirchner and Stephen Matyi. From 1971 to 1982 Mr. Sargous was principal oboist of the Toronto Symphony Orchestra. He joined the Michigan faculty in 1982. With the support of Pierre Boulez, he was invited to work at IRCAM in Paris to explore the acoustictechnological interface possibilities of the oboe, including its MIDI implementation. His tours with the Japanese marimbist Keiko Abe have influenced his studies and performance on the shakuhachi. His recordings appear on the Crystal, Sony Classical, and Danacord labels.
This afternoon's performance marks Harry Sargous' ninth appearance under UMS aus?pices.
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. Power Center
Video Screening of Laurie Anderson's Home of the Brave (1986) hosted by Linda Kendall, Technologist for the U-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 Anderson. Interviewed by Stephen Rush, Professor of MusicDance Technology. Friday, October 1,12 noon, Power Center. In conjunction with the Stamps' Visiting Arts Program of the U-M School of Art and Design, and the Institute for Research on Women and Gender, 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 Wilheltn 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 WEMUand 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 Hail. 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 Vila 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 Irwin.
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
j 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 I Three, a film by Isaac Julien featuring I Bebe Miller and Ralph Lemon. Friday, I January 14, 7 p.m., Betty Pease Studio, 12nd Floor, U-M Dance Department. In conjunction with the Institute for
Research on Women and Gender, I Center for Afroamerican and African I Studies, Center for Education of Women, I and U-M Department of Dance.
Dance Master Class Saturday, January I 15,10:30 a.m., U-M Dance Department, I Studio A.
PREP "Identity and Process in Bebe I Miller's Choreography" by Kate
Remcn, UMS Education and Audience
Development Manager. Saturday, j January 15,7 p.m., Michigan League, I Koessler Library, 3rd Floor.
Meet the Artist Post-performance I dialogue from the stage.
Dance Department Mini Course I "Four Women of the Dance:" a mini-I course based on the UMS sponsored I performances of four major American I women choreographers" taught by Gay j Delanghe, U-M Professor of Dance.
Winter Term, 2000. Mass Meeting,
Saturday, January 8,12 noon. For infor-I mation, delanghe@umich.edu or call I U-M Department of Dance, 734.763.5460.
Media sponsors WDET and 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. j Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
; Beethoven the Contemporary Sunday, January 23, 4 p.m.
I 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.umkh. eduagreenesymposium.html or call 734.764.0351.
CREES Mini-Course on Fin de Siecle 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 AM 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 Chave'z 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 Cresswett. 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 Isabclle Brauer.
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 Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
ord Honors Program Honorees
1996
Van
Cliburn
1997
Jessye
Norman
1998 Garrick Ohlsson
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 Gonzalez 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.
Grata
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.
Miki
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
276 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. $ 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 (of R. & 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 llene 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 Sams 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 Jerry 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 lean 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 1: klu nd 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 Jean 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
Jeannine 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 I'at 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 lohn 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. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert 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 EVashak 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 lim 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 Bcaman Astrid B. Beck and
David Noel Frcedman Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Ronald J. Bienkowski Mary StefTek 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 lames and l.uuBradner 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 Bulkley 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 EUie 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 Joan and Emit 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 J. Goldstein and
Marty Mayo Enid M. Gosling Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Daphne and Raymond Grew Lauretta and lini 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. Haefner and
Cynthia J. Stewart Susan and John Halloran Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Hefmer 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
John 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 Judy 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 J. Thomas and Kathleen Pustell Lcland and
Elizabeth Quackcnbush Anthony L. Reffells and
Elaine A. Bennett
Carol P. Richardson lack and Margaret Ricketts Constance Rinehart lohn 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 MUler 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
Atlas Tool, Inc.
Bella Ciao Trattoria
Coffee Express Co.
Dupuis & Ryden P.C.
Jenny Lind Club of Michigan,
Inc.
John Leidy Shop, Inc. Pollack Design Associates Scientific Brake and
Equipment Company Alice Simsar Fine Art, Inc. A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
Foundations
Shiftman 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 Allen Barbara and Dean Alscth 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 Andresen Dr. and Mrs. Dennis L. Angellis Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperle
lohn and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jerald Bachman lane Bagchi
Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Balon Drs. Nancy Barbas and
Jonathan Sugar John 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, Jr. Kenneth C. Beachler lames and Margaret Bean Mr. and Mrs. John C. Beatty James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Beckley and lytte Dinescn Robert B. Beers Steve and Judy Bemis Walter and Antic Benenson
Merete and
Erling Blondal Bengtsson Joan and Rodney Bcntz 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
Naren and Nishta Bhatia Hh.ir.it C. Bhushan lohn and Marge Bianckc Dan and Irene Biber Eric and Doris Billes William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Tom and Rosanne Bloomer Henry Blosser and Lois Lynch Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mark and Lisa Bomia Dr. and Mrs. Frank Bongiorno Edward and Luciana Borbaly Lola . Borchardt Gary Boren
Dr. and Mrs. Morris Bornstein Jeanne and David Bostian Dean Paul C. Boylan Stacy P. Brackens William R. Brashear Enoch and Liz Brater Robert and Jacqueline Bree Patricia A. Bridges Patrick and Kyoko Broderick Lorna Brodtkorb Linda Brown and Joel Goldberg Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Elizabeth A. Buckner
Isabel Buckncr
Dr. Frances E. Bull
Robert and Carolyn Burack
Marilyn Burhop
Tony and Jane Burton
Joanne Cage
Louis and Janet Callaway
Susan and Oliver Cameron
lenny Campbell {Mrs. D.A.)
Douglass and Sherry Campbell
Charles and Martha Cannell
Robert and Phyllis Carlson
Dr. and Mrs. James E. Carpenter
Dennis B. and Margaret W. Carroll
Carolyn M. Carty and
Thomas H. Haug Laura Cathcart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chesler Tim Cholyway
Edward and Rebecca Chudacoff Sallie R. Churchill Mark Clague and
Anne Vanden Belt Pat Clapper
Brian and Cheryl Clarkson Donald and Astrid Cleveland Barbara Clough Roger and Mary Coe Dorothy Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mike and Tedi Collier Matthew and Kathryn Collins Ed and Cathy Colone Carolyn and L. Thomas Conlin Patrick and Anneward Conlin Nan and BUI Conlin Philip E. and Jean M. Converse Donald W. Cook Gage R. Cooper Mr. and Mrs. Herbert Couf Marjorie A. Cramer Richard and Penelope Crawford Charles and Susan Cremin Mary C. Crichton Mr. Lawrence Crochier Mr. and Mrs. fames I. Crump Margaret Cudkowicz Townley and Joann Culbertson Jean Cunningham Richard J. Cunningham Dolores Nachman Curiel Roderick and Mary Ann Daane Mr. and Mrs. John R. Dale Marylee Dalton Mr. and Mrs. Norman Dancy Mildred and William B. Darnton Jane and Gawaine Dart Stephen Darwall and
Rosemarie Hester Sunil and Merial Das DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. Arthur W. Davidge 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 DcTullio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DcVine Paul Dodd and Charlotte Dodd Elizabeth and Edward R. Doezema Jean Dolejja
Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Dick and fane Don-Thomas Downs
Roland and Diane Drayson Harry M. and Norrene M. Dreffs Dale R. and Betty Berg Drew Cecilia and Allan Dreyfuss fanet Driver and Daniel Hyde John Dryden and Diana Raimi Ronald and Patricia Due Rhetaugh G. Dumas Robert and Connie Dunlap Richard F. Dunn fcan 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. Eccies Morgan H. and Sara O. Edwards Rebecca Eisenberg and
Judah Garber Judge and Mrs. S. J. Elden So) 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 Faiit Thomas and Julia Falk Phil and Phyllis Fellin Larry and Andra Ferguson Dr. and Mrs. fames Ferrara Yi-tsi M. and Albert Feuerwerker Susan Filipiak
Swing City Dance Studio Clay Finkbeiner Marilvn 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 Flosky George and Kathryn Foltz Jason I. Fox
William and Beatrice Fox Lynn A. Freeland Lucia and Doug Freeth Sophia L French Marilyn Friedman Gail Fromes
Mr. and Mrs. Charles C. Froning ferry Frost
Philip And Renee Frost Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Gaiantowicz Dr. Thomas H. Gaiantowicz Mrs. Don Gargaro Jack J. and Helen Garris C. Louise Garrison fanet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenbergcr and
Elizabeth A. Sweet Paul and Suzanne Gikas Beverly Jeanne Giltrow Gary and Rachel Glick Robert and Barbara Gockcl
Albert L. Goldberg Ed and Mona Goldman Steve and Nancy Goldstein Beryl and Davia Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Jesse and Anitra Gordon Charles Goss
James W. and Maria J. Gousscff Michael L. Gowing Britt-Marie Graham Christopher and Elaine Graham Mr. ana 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. Grilk Mrs. Atlee 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 Sarath and Joan Harris Martin D. and Connie D. Harris Susan S Harris
Stephen Haskin and Karen Soskin Elizabeth C. Hassinen Ruth Hastie
George and Lenore Hawkins Mr. and Mrs. Edward J. Hayes Anne Heacock Ken and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Heitler Sivana Heller
Paula Hencken and George Collins Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel Bruce and Joyce Herbert Ada Herbert Hiroshi Higuchi Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Anne Hoff and George Villcc Robert and Frances Hoffman Robert and Claire Hogikyan John and Donna Hollowell Howard L. and Pamela Holmes Hisato and Yukiko Honda Arthur G. Horner, 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 HufTord 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. Jahnckc Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek 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 Jonidcs Tom and Marie luster 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 Keesecker 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
Lucy A. 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 Kuykcndafi Christine A. LaBelle Mr. and Mrs. Seymour Lampert 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 Lavoie Ruth Lawrence and An Naimark Chuck and Linda Leahy Cyril and Ruth Leder Dr. Peter J. Lee and
Mrs. Clara Hwang Mr. Richard G. LcFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Richard and Barbara Leitc Ron and Leona Leonard Sue Leong
Margaret E. Leslie
David E. Levine
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 Loewcnthal
Julie M. Loftin
lane Lombard
Ronald Longhofer and
Norma McKenna Armando Lopez Rosas Helen B. Love Donna and Paul Lowry Karen Ludcma Pamela and Robert Ludolph Cynthia Lunan Elizabeth L. Lutton Susan E. Macias Marilyn MacLean Walter Allen Maddox Hans and Jackie Maier Deborah Malamud and
Neal Plotkin Karl D. Malcolm, M.D. Claire and Richard Malvin Pearl Manning
Ken Marblestone and lanisse Nagel Thomas E. and Melissa S. Mark Lee and Greg Marks Alice K. and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Martel 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 McMurtrie Kevin D. McVeigh Nancy and Robert Meader Marilyn J. Meeker Allen and Marilyn Menlo Warren and Hilda Merchant Ingrid Merikoski Debbie and Bob Merion Hely Merle-Benner Jill McDonough and
Greg Mernman Russ and Brigette Merz Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Shirley and Bill Meyers Helen M. Michaels Carmen and jack Miller Mm Mills
Bob and Carol Milstcin 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
James and Sally Mueller
Peeter and Judith Muhlbcrg
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
Chcrie M. Olsen
Joan and Bill Olsen
Nels R. and Mary H. Olson
J. L. Ondey
Karen Koykka O'Neal and
Joe O'Neal
Robert and Elizabeth Oneal 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 Hcdda Panzer Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Frank and Arlene Pasley Brian P. Patchen Maria and Ronald I. Patterson Nancy K. Paul Robert and Arlene Paup Patricia D. Pawelski Edward J. Pawlak Elizabeth M. Payne Lisa A. Payne William A. Penner, )r. Steven and Janet Pepe Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeffjavowiaz and Ann Marie Petach Roger and Grace Peterson Frank and Nelly Petrock Douglas and Gwendolyn Phelps 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 I .iiu 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 Raisler and
Jonathan Allen Cohn Patricia Randle and James Eng Alfred and Jacqueline Raphelson 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 Rehak Anne and Fred Remlcy Glcnda Rcnwick Molly Rcsnik and John Martin John and Nancy Reynolds Alice Rhodes
James and Helen Richards Elizabeth G. Richart Kurt and Lori Ricgger Thomas and EllcnRiggs Mary Ann Ritter Kathleen Roelofs Roberts
Dave and Joan Robinson H. James Robinson Janet K. Robinson, Ph.D. Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Thomas and Catherine Rodzicwicz Mary F. Loeffler and
Richard K. Rohrer Borjc and Nancy Rosacn 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 Saalberg Theodore and Joan Sachs Arnold Sameroff and Susan
McDonough Miriam S. Jofie Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg Mike and Christi Saviuki Gary and Arlene Saxonhouse Helga and Jochcn Schacht Jerry Schafer
Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Gary and Claudia Schnitkcr Susan G. Schooner Thomas H. Schopmeyer Carol Schrcck Ailcen M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodcl David and Darlenc Scovell
E. J. Scdlandcr
John and Carole Segall
Sylvia and Leonard Segel
Janet C. Sell
Louis and Sherry L. Scnunas
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 Shevel
Jean and Thomas Shope
Mary Alice Shulman
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BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important 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
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Mr. Seymour Greenstone
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MEMORIALS
H.iiIan 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 RudesUI
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Norman Wait
Carl H. Wilmot
Peter Holderness Woods
Helen Ziegler
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Bernard and Ricky Agranoff
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Masco Corporation McKinley Associates Mechanical Dynamics Megasys Software Services, Inc. Miller, Canfield, Paddock
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Pepper, Hamilton & 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
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GIVING LEVELS
Soloists
Maestro
Virtuosi
Concertmaster
Leader
Principal
Benefactor
Associate
Advocate
Friend
Youth
$25,000 or mori I $10,000 -24,99 $7,500 9,999 $5,000 7,499 $2,500 4,999 $1,000-2,499 $500 999 $250 499 $100 249 $50 99 $25
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